Re: [Callers] Callers Digest, Vol 73, Issue 3

Kathy Anderson's best advice, "When you are out, go where you are needed." Charley Harvey www.charleyharvey.com ________________________________ From: "callers-request(a)sharedweight.net" <callers-request(a)sharedweight.net> To: callers(a)sharedweight.net Sent: Tue, September 7, 2010 12:00:03 PM Subject: Callers Digest, Vol 73, Issue 3 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 You can reach the person managing the list at callers-owner(a)sharedweight.net When replying, please edit your Subject line so it is more specific than "Re: Contents of Callers digest..." Today's Topics: 1. Dances with tricky end effects (Dan Pearl) 2. Re: Dances with tricky end effects (Dorcas Hand) 3. Re: Dances with tricky end effects (Mark Widmer) 4. Re: Dances with tricky end effects (Jack Mitchell) 5. Re: Dances with tricky end effects (Andrea Nettleton) 6. Re: Dances with tricky end effects (Robert Golder) ---------------------------------------------------------------------- Message: 1 Date: Mon, 6 Sep 2010 10:05:45 -0700 (PDT) From: Dan Pearl <daniel_pearl(a)yahoo.com> To: callers(a)sharedweight.net Subject: [Callers] Dances with tricky end effects Message-ID: <841676.85973.qm(a)web65711.mail.ac4.yahoo.com> Content-Type: text/plain; charset=us-ascii There are actually two possible cases to think about. First: what couples do when they have progressed out of the set (and the answer is USUALLY "cross over and wait"). Second: what pairs (not partners) do when they move out of the minor set at some point during the sequence, like in "Cal and Irene". In "Cal...", the end effects are pretty manageable and observe END EFFECT DEFAULT RULE #1: Just face into the set (e.g., face up at the bottom) with the W on the right, M on the left. It is very close to the way you shift out of the set. In this dance, the default rule works for both cases mentioned in the first paragraph. The DIAGONAL DANCE END EFFECT RULE: Dances that work out of the minor set with some sort of diagonal action require that an idle pair station themselves on the correct side of the set. Some special cases worth mentioning: "Fiddleheads" by Ted Sannella is a great dance and features an automatic crossover when you progress out at the ends. Other dances require that an idle pair at the foot be on the 'wrong' side because the progression happens everyone is on their non-home side. (I think "Be Here Now" is one of those dances.) Here's another one Becket Formation A1. Cir L 3/4, Sw N A2. W Chain, 1/2 promenade B1. Petronella bal & twirl, **** swing new N B2. M almd L 1+1/2, Sw Partner At the ****, the idle couple needs to be on the 'unusual' side for an idle couple. This sort of thing is worth mentioning in the walk-through. ------------------------------ Message: 2 Date: Mon, 6 Sep 2010 12:54:44 -0500 From: "Dorcas Hand" <handd51(a)tekkmail.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Subject: Re: [Callers] Dances with tricky end effects Message-ID: <20A4CF7C075ED84D940EB5775C34D26E05634D(a)mercury.Exchange.1-service.com> Content-Type: text/plain; charset="iso-8859-1" Hey, Parker I seem to have lost your direct email - but I thought I would say hello. I'm wishing for your cooler weather! Dorcas -----Original Message----- From: callers-bounces(a)sharedweight.net [mailto:callers-bounces@sharedweight.net] On Behalf Of PARKER MANN Sent: Monday, September 06, 2010 1:22 AM To: callers(a)sharedweight.net Subject: [Callers] Dances with tricky end effects I 'm planning on calling a couple of dances this weekend where there is interaction with couples outside the usual minor sets.? One of them is Dan pearl's composition "Cal and Irene."? My concern is what happens at the top and bottom of the lines. What recommendations do you have to prepare dancers for end effects when they are not used to anything more than "cross over and wait?" Thanks. Parker _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.851 / Virus Database: 271.1.1/3117 - Release Date: 09/06/10 01:35:00 ------------------------------ Message: 3 Date: Mon, 6 Sep 2010 11:19:37 -0700 (PDT) From: Mark Widmer <widmermt(a)yahoo.com> To: callers(a)sharedweight.net Subject: Re: [Callers] Dances with tricky end effects Message-ID: <793155.27721.qm(a)web62107.mail.re1.yahoo.com> Content-Type: text/plain; charset=us-ascii Sometimes it's enough to say, "when you're waiting out at the end, be ready to allemande (or form long waves, or star left, or whatever) with people" Depending on the dance, you might have to tell people *not* to cross over right away, or to be in position to chain on the right (or left) diagonal Mark Widmer PARKER MANN <M_P_Mann(a)shaw.ca> wrote: What recommendations do you have to prepare dancers for end effects when they are not used to anything more than "cross over and wait?" ------------------------------ Message: 4 Date: Mon, 06 Sep 2010 14:28:21 -0400 From: Jack Mitchell <jamitch3(a)mindspring.com> To: Caller's discussion list <callers(a)sharedweight.net> Subject: Re: [Callers] Dances with tricky end effects Message-ID: <4C8532C5.7000601(a)mindspring.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed You can tell people which side they need to be on (if it's just waiting out on the end for something to happen), but frequently the best advice is to just tell them that the people who are in the dance know where you need to be better than you (who are standing out) do -- go where you're needed. Jack On 9/6/2010 2:21 AM, PARKER MANN wrote: ------------------------------ Message: 5 Date: Mon, 6 Sep 2010 15:55:42 -0400 From: Andrea Nettleton <twirly-girl(a)bellsouth.net> To: Caller's discussion list <callers(a)sharedweight.net> Subject: Re: [Callers] Dances with tricky end effects Message-ID: <A0D6A315-108B-463D-B159-643E3E8AFEA8(a)bellsouth.net> Content-Type: text/plain; charset=us-ascii; format=flowed; delsp=yes I had a dance I was calling where you were in and out three different ways. After a near meltdown, I wrote a stacked call that included the waitouts in my notes, but concluded that most dances that don't allow the dancers to take over and the caller to drop out are probably not worth it. Sent from my iPhone On Sep 6, 2010, at 8:32 AM, Jeanette Mill <jeanette_mill(a)yahoo.com.au> wrote: ------------------------------ Message: 6 Date: Mon, 6 Sep 2010 22:53:46 -0400 From: Robert Golder <robertgolder(a)comcast.net> To: Caller's discussion list <callers(a)sharedweight.net> Subject: Re: [Callers] Dances with tricky end effects Message-ID: <214AD410-1340-45C9-A21F-A028BEE945A2(a)comcast.net> Content-Type: text/plain; charset=us-ascii Make sure they hear and respond positively to special instructions. As an example, the improper duple minor dance "Round the Horn" by Walter Lenk requires dancers waiting out at the ends to refrain from trading places until they have interacted with a shadow dancer, at which point they must trade places before the cycle of the dance begins again. After I have taught the dance I will say something like this: "In all the dances we have done tonight, you have been so good at quickly trading places with your partner at the ends. But 'Round the Horn' is not a dance that rewards efficiency in trading places..." and then I tell them what to do while waiting out. Having just received a compliment for the style in which they have danced the previous dances, the crowd is listening closely when I tell them that "Round the Horn" is a special case - and so there will be no mix-ups at the ends of the sets. ------------------------------ _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers End of Callers Digest, Vol 73, Issue 3 **************************************