Lessons are a different ball of wax, especially if you are teaching both roles to everyone. Sashes seem reasonable there. I'm talking about dancers at the competent level and above at a normal dance.
The speed and complexity of squares makes visual signifiers too slow and unhelpful; facing someone of the same gender could be correct, so all you can really be responsible for is your own position.
As for calling to groups that role swap mid-square: that was my question, too, when I was warned about a group. The caller just grinned and wished me good luck. I've picked out a few solutions, some better than others.
1. Know if it is likely in advance.
2. Ask one set to be nice and dance pilot.
3. Only use modules for that group.
4. Pre-choreograph everything (common in southern AZ)
5. Watch at least two, or even three, sets for agreement if anything ever looks odd. (A good idea anyway in case your pilot square breaks)
6. Keep it simple.
7. Call so fast they don't have time to fool around. (Can backfire!)
8. Embrace and encourage it during a particular square.
9. Watch a square that isn't smiling/is mostly older or serious.
10. See #1. Don't worry about it and just keep calling. If there is an actual problem, they'll tell you.
Beginners don't do it--it's the folks who know enough to be dangerous.
Neal
Nick: Some good stuff in those links - thank you.Donna: I love the idea of identifying your role by saying "boy" or "girl". Thanks for the link to your web pages. I did try to look at your FB group but got a "this content isn't available right now" error message.Neal: I'm intrigued by the "not wearing bands/physical identifiers", and more so by mid-tip role swapping. How does the caller cope? If xe is purely using modules then there's no problem, but how does xe cope if xe is sight calling? OK xe could memorise 4 positions rather than just two couples, but if the dancers are role swapping xe may not be able to tell what FASR the square is in.In my MWSD classes I insist that the "boys" wear a sash and the "girls" don't - irrespective of actual gender. This is partly to make it easier to see when the square has gone asymmetric, and partly to eliminate the idea that "boy is the natural role of a man, so if a woman dances it she must be marked out in some way (and vice versa)".JeremyOn 28 September 2016 at 18:54, Neal Schlein via Callers <callers@lists.sharedweight.net > wrote:My experience is basically the same as Donna's, although I'd say the gent/lady statement is less of a "convention" than a matter of simple practicality. It usually gets said early in a dance or when actually necessary.Neal
In a square there is also no real need for ties/bands/vests/sashes for a simple reason: the set is fully aware of itself. Everyone can see all of the couples upon squaring up; we help each other remember who does what anyway. In a really scrambled set everyone figures it's a minor miracle if something doesn't break down regardless, and that's doubly true in clubs where people actively swap roles during the dance. If it happens, you just regroup and try again.
The frequent "Aack! I'm a ____!" when allemande left or star thru are called is pretty funny, especially since it often comes from very experienced dancers...who then proceed to go the wrong way with supreme confidence. (Callers are even more susceptible, since our line is, "Aack! I'm a DANCER!!!")
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