I can’t answer whether the robin's would always HAVE to go above the lark’s in the modified ballroom swing, but I would intuitively think that having that rule/understanding might make it easier for dancers to make the transition from ballroom to modified ballroom because the robin’s arm is always on top in standard ballroom swing. Also, the lark’s hand is typically cupped upwards with the robin’s hand above the lark’s in things like a balance or even a handhold in a circle move, so having the hand/arm orientations the same in the swing would also seem more intuitive to me if I were just learning this swing._______________________________________________BeckyOn Mar 16, 2024, at 12:25 PM, Katherine Kitching via Contra Callers <contracallers@lists.sharedweight.net> wrote:Hi John, thanks for all your comments. I like this swing at https://www.youtube.com/watch?v=FUiXStkCHGs from 0:05 to 0:15 - for spacing -- and I'm going to introduce it at our next dance! Though what I think Becky found interesting about the variation we're working on is that it retains the "pointy hands", which can be useful._______________________________________________
The one thing that I was confused about when I read your message: you say when you tried the swing variation our group has been experimenting with (visual at https://www.dropbox.com/scl/fi/ebotfe2jksbr3dqbjyiuf/Modified-Ballroom-Swing-elbow-hold.jpg?rlkey=ekblzvpc2tk2hkbtfrh9u96au&dl=0 )
-- you say that you found the grip insufficient, for the arms that are holding just above the elbow.
But in my mind, this hold that me and my partner are doing with his left hand my right hand , is supposed to be the same as the hold you use in this video of yours - (but in your case, your left hand and her right hand.)
Maybe I didn't execute it properly, but it is what I intended:
https://youtu.be/yUbi1B2Edk0?si=HL-3jgI95LtGZBQ_&t=198 Starts at 3:18.Thoughts?
Also, is anyone able to answer my question to Winston -
Is it a given, due to something in the asymmetric nature of the hold, that in this video referenced by Allan -
https://www.youtube.com/watch?v=lQ0R5iHT-l8 or in the photo I shared above via Dropbox, that the Robin's arm will *always* go above the Lark's arm? Or could the placement of the arms vary depending on the relative height of the two dancing partners? (for example with a 6' tall Lark and a 5' tall Robin, would the Robin's arm still be above the Lark's? Thanks all! Kat K in HalifaxThursday, March 14, 2024 7:23 AMHi Kat,
Yes, I thought you meant something like you show in your photo. When you mentioned Jeff's photo I did wonder, as it is what I call a Foreshortened Hold in my video and brings you closer together rather than further apart.
I picked up the Foreshortened Hold from the cover of Zesty Contras and love it. I was surprised when I analysed the 600 dancers at a contra dance at The Flurry and realised that nobody else was using it!
We tried your Modified Ballroom Hold Swing and didn't feel that it really worked. With my right arm underneath there didn't seem to be enough connection to have a really good swing unless Karen gripped my arm. I felt that my hand might slide down. With my right arm on top Karen felt that it was pulling on her shoulder even though I wasn't gripping - it was just awkward. So, sorry, but I won't be using that one.
Re all the references to sore arms/hands/wrists/etc. The biggest problem is that people are told to "give weight". I don't want your weight! People misunderstand and lean back or sideways. If people control their own weight then all the connection has to do is counter centrifugal force and that it not a lot inless you spin really fast.
I always start a Swing lesson by getting the dancers to Buzz on the spot BY THEMSELVES. Then when they connect they keep their own balance and weight.
I have had major operations on both my shoulders (too much Repetitive Strain Injury from another style of dance that is taught badly, and then lots of Aerials: https://youtu.be/CJnL_Y63AnY?si=RqKHSw5MQmhiuIFT - maybe I shouldn't have started doing those in my fifties!). Anyway, I can't afford to let people damage my shoulders. With a good partner I can Swing at high speeds with no problem. Whenever someone leans back or sideways I just slow the Swing down and lessen my connection so that they have to take their own weight or fall over.
Anyway, if you can get everyone to keep their own weight you will find it is much less strain on your arm/hand/wrist.
The standard Quebecois Swing has the feet interleaved. They seem to do it without any problem. It is just a different feel and takes some getting used to.
Someone mentioned the challenges with being too close in a Ceilidh Swing (http://contrafusion.co.uk/SwingWorkshop.html#Ceilidh ) - you could always try the Forearm Swing instead (http://contrafusion.co.uk/SwingWorkshop.html#Linked ) - same principle, but further apart so no bodily contact.
Happy dancing,
John
John Sweeney, Dancer, England john@modernjive.com 01233 625 362 & 07802 940 574
http://www.contrafusion.co.uk for Dancing in Kent
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To unsubscribe send an email to contracallers-leave@lists.sharedweight.netWednesday, March 13, 2024 10:20 PMFor me, the enforced intimacy is about the proximity of bodies and lack of physical air space between them. The huge difference between a swing in contra vs., say, agreeing to dance a waltz or a swing dance with someone, is that by agreeing to dance you’re agreeing to swing with EVERY opposite-role person in the line, not just the person you asked to dance. That’s a much bigger commitment to physical contact/intimacy than saying yes to one person.
As a side note, before we got rid of a lecherous dancer in our group a few years ago, MANY women in our dance group chose their contra dance line specifically to avoid having to swing with him. The most important intervention was, of course, to establish a code of conduct which we used to remove him from the dance group (when it became clear he would not agree to change his behaviour). But for women (and others, but it’s always been women who have said this to me over the years), when they come to a dance not KNOWING whether there MIGHT be a letch in the line, it is asking quite a lot to expect them to do a ballroom swing with whoever comes at them. I am wondering whether the modified ballroom hold might make contra feel safer, especially for new dancers.
I’d love to hear what folks who have used both feel about the difference.
Becky
On Mar 13, 2024, at 4:34 PM, Julian Blechner <juliancallsdances@gmail.com> wrote:
I would love to read elaboration / articulation on why a ballroom hold feels more "intimate" than other holds?
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To unsubscribe send an email to contracallers-leave@lists.sharedweight.netWednesday, March 13, 2024 5:34 PMI would love to read elaboration / articulation on why a ballroom hold feels more "intimate" than other holds?Is it a matter of the historical social attachment we have in our minds with couples dances that use the hold, and romance in our culture?Is it a physical proximity? (I find ceilidh holds to be closer, crossed arms has my hands bearish their belly which has its own intimacy to me, though sometimes barrel holds can be done with a bit more space - though I wouldn't say the default)Is it something else?Maybe if we looked at the why, it'd give insight to what a solution to an alternate swing hold and/or an adjusted mindset might entail?In dance,Julian BlechnerHe/himWestern Mass
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