Here’s one I wrote in 2006:
Jump at the Sun
A1)Cir L 0.75, Pass through, next N DSD 1.25
A2) Rory o More: Balance in wave, Slide R, Bal wave, slide to L.
B1) Pull by that N by RH to start a full hey
B2) Same N AR 0.75, W cross by LS, P Sw.
Written 2006, at the suggestion of Emil Olguin, specifically for the jig of the same name. However, I have called and danced it to other music, and haven't found anything that doesn't work. (Rory O'More and Petronella work very well.)
I have had discussions with other callers as to whether the the first move in B1 is a half allemande or a pull-by, and I have come to realize that men and women experience this move differently. For the men, it is a pull-by, leading into a hey with no direction change. Women, after the move in question, need to turn to their right to face in for the hey, so to them it feels more like a half allemande. Certainly, teaching it as a half allemande establishes the floor pattern unambiguously. However, when watching the dancers, I see that they tend to use a shake-hands grip (forearms parallel to the dance floor) during the dance. Because of the different grip required, I teach the dance as noted above. Both work, take your pick.
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I'm looking for recommendations for contras written to specifically match a given tune, square or crooked. Obviously, there's singing squares, the Chestnuts and some well known examples like David Kaynor's Cherokee Shuffle. I'm looking for other examples of excellent "modern era" dances perfectly crafted to fit an outstanding or unusual tune - such that it surpasses the standard "pick the dance, then a suitable tune" approach to foster dance floor joy.
I've written a few such dances but would love to augment my repertoire with others.
Thanks,
Don