31 Oct
2012
31 Oct
'12
9:29 p.m.
Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the Plank."
It looks like a nice bouncy dance with good rebound, but there's a
transition from a petronella twirl into a LH star at the end, and in the
absence of a group of guinea pigs here at the house I thought I'd ask if
anyone's tried this and what they think. Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a star?
Kalia
31 Oct
31 Oct
9:47 p.m.
On 10/31/2012 6:29 PM, Kalia Kliban wrote:
Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the Plank."
It looks like a nice bouncy dance with good rebound, but there's a
transition from a petronella twirl into a LH star at the end, and in the
absence of a group of guinea pigs here at the house I thought I'd ask if
anyone's tried this and what they think.
Haven't tried it but will give an
uninformed opinion anyway.
This looks like a terrific dance. It resolves the awkwardness of
bend-the-line circle left (which always gives a nasty momentum change to
the person
on the right end of the line) by having a balance the ring next.
Petronella one place into star with the same people should go pretty
smoothly. I'd be inclined to make that a hands-across star and tell
them to
start moving right away rather than wait to catch hands; that would
somewhat reduce the problem of momentary disorientation causing the whole
start to start late, which you really don't want because you need to
finish on time to hit the neighbor balance. If it goes smoothly it
should feel great.
-- Alan
Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a star?
Kalia
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9:52 p.m.
Kalia Kliban asked about the transition from Petronella Twirl to
left hand star. This transition occurs in Becky Hill's "Kitchen
Stomp" and in Jim Kitch's "Discombobulation." In my experience,
it works just fine. You may want to supply a clear and timely
prompt for the star (e.g., "Left hands in for a left hand star"
on beat 5-8 instead of just "Star left" on beats 7-8) at least
the first few times through.
--Jim
On Oct 31, 2012, at 6:29 PM, Kalia Kliban wrote:
Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the
Plank." It looks like a nice bouncy dance with good rebound, but
there's a transition from a petronella twirl into a LH star at the
end, and in the absence of a group of guinea pigs here at the house
I thought I'd ask if anyone's tried this and what they think. Here
are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for
a star?
Kalia
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11:06 p.m.
Does this start in a wave? Or is it just with a RH to your neighbor for
a balance, and then allemande R?
Jack
On 10/31/2012 9:29 PM, Kalia Kliban wrote:
Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the
Plank." It looks like a nice bouncy dance with good rebound, but
there's a transition from a petronella twirl into a LH star at the
end, and in the absence of a group of guinea pigs here at the house I
thought I'd ask if anyone's tried this and what they think. Here are
the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a
star?
Kalia
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
11:14 p.m.
It works great as long as everyone spins the appropriate way. If you have new dancers in
the crowd, it is worth teaching that when spinning R, one points one's chin to the R
and follows it around. I have seen even dancers who have danced for awhile spin them
selves the other way. When spinning the 'right' way, your left hand is free and
momentum easily swings it to the center for a star L. If you happened to have spun the
other way, there is no way to flow gracefully into the star. If I hadn't seen this
awkward spinning from the stage, I would not have believed people could keep choosing what
looks to me like such a counter intuitive motion, but they do. If this is the second spin
to the R dance of the night or you have a crowd of at least somewhat experienced dancers,
they will enjoy the flow very much.
A
Sent from my iPhone
On Oct 31, 2012, at 9:29 PM, Kalia Kliban <kalia(a)sbcglobal.net> wrote:
Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the Plank." It
looks like a nice bouncy dance with good rebound, but there's a transition from a
petronella twirl into a LH star at the end, and in the absence of a group of guinea pigs
here at the house I thought I'd ask if anyone's tried this and what they think.
Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a star?
Kalia
_______________________________________________
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Callers(a)sharedweight.net
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14 Nov
14 Nov
2:06 p.m.
I have a Petro-spin-to-star in a dance of mine, a move I stole from another
dance (Middle School Drama, or something like that?). People are going to
clap, so I recommend mentioning in the walkthrough that the dance is
smoother if the hands go right in sans-clap.
-Ron
On Wed, Oct 31, 2012 at 11:14 PM, Andrea Nettleton <
twirly-girl(a)bellsouth.net> wrote:
It works great as long as everyone spins the
appropriate way. If you have
new dancers in the crowd, it is worth teaching that when spinning R, one
points one's chin to the R and follows it around. I have seen even dancers
who have danced for awhile spin them selves the other way. When spinning
the 'right' way, your left hand is free and momentum easily swings it to
the center for a star L. If you happened to have spun the other way, there
is no way to flow gracefully into the star. If I hadn't seen this awkward
spinning from the stage, I would not have believed people could keep
choosing what looks to me like such a counter intuitive motion, but they
do. If this is the second spin to the R dance of the night or you have a
crowd of at least somewhat experienced dancers, they will enjoy the flow
very much.
A
Sent from my iPhone
On Oct 31, 2012, at 9:29 PM, Kalia Kliban <kalia(a)sbcglobal.net> wrote:
Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the Plank."
It looks like a nice bouncy dance with good rebound, but there's a
transition from a petronella twirl into a LH star at the end, and in the
absence of a group of guinea pigs here at the house I thought I'd ask if
anyone's tried this and what they think. Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a
star?
Kalia
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
2:19 p.m.
Ron and All:
Local tastes may vary, but if you're calling at a series where Petronella clapping is
automatic, you can mention not clapping on the Petro/star transition (first seen in Becky
Hill's Kitchen Stomp, I believe), but I wouldn't push that too hard. If one of
the four claps, the other three have to wait for the clapper. It's different on
Petro/allemande or Petro/swing transitions, where only two dancers need to agree on
valuing flow over flourishes -
Bob
> From: contraron(a)gmail.com
> Date: Wed, 14 Nov 2012 14:06:34 -0500
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Walk the Plank
>
> I have a Petro-spin-to-star in a dance of mine, a move I stole from another
> dance (Middle School Drama, or something like that?). People are going to
> clap, so I recommend mentioning in the walkthrough that the dance is
> smoother if the hands go right in sans-clap.
>
> -Ron
>
>
3:18 p.m.
I called this the other night and noticed that as the clap crept in
during the course of the dance the star got later and later, and more
ragged. In some dances the clap is fine. In this dance it definitely
gets in the way. That clap can be hard to quash, though. Next time I
call this, I'll make the point during the teaching and see if it sticks.
Clapping isn't an absolute given here (SF Bay Area) but it tends to
spread if anyone does it even once.
Kalia
On 11/14/2012 11:19 AM, Bob Isaacs wrote:
Local tastes may vary, but if you're calling at a
series where Petronella clapping is automatic, you can mention not clapping on the
Petro/star transition (first seen in Becky Hill's Kitchen Stomp, I believe), but I
wouldn't push that too hard. If one of the four claps, the other three have to wait
for the clapper. It's different on Petro/allemande or Petro/swing transitions, where
only two dancers need to agree on valuing flow over flourishes -
Bob
> From: contraron(a)gmail.com
>
> I have a Petro-spin-to-star in a dance of mine, a move I stole from another
> dance (Middle School Drama, or something like that?). People are going to
> clap, so I recommend mentioning in the walkthrough that the dance is
> smoother if the hands go right in sans-clap.
>
> -Ron
3:28 p.m.
Rather than saying "Don't clap" I have found that it can work well to
put the emphasis on what they can do to make the dance work
well...Balance the ring and twirl straight into your partner's arms for
a swing. Or in this case, balance and twirl to the right, letting the
twirl send your left hand into the center for a star....or something
like that.
On 11/14/2012 3:18 PM, Kalia Kliban wrote:
I called this the other night and noticed that as the
clap crept in
during the course of the dance the star got later and later, and more
ragged. In some dances the clap is fine. In this dance it definitely
gets in the way. That clap can be hard to quash, though. Next time I
call this, I'll make the point during the teaching and see if it
sticks. Clapping isn't an absolute given here (SF Bay Area) but it
tends to spread if anyone does it even once.
Kalia
On 11/14/2012 11:19 AM, Bob Isaacs wrote:
Local tastes may vary, but if you're calling
at a series where
Petronella clapping is automatic, you can mention not clapping on the
Petro/star transition (first seen in Becky Hill's Kitchen Stomp, I
believe), but I wouldn't push that too hard. If one of the four
claps, the other three have to wait for the clapper. It's different
on Petro/allemande or Petro/swing transitions, where only two dancers
need to agree on valuing flow over flourishes -
Bob
> From: contraron(a)gmail.com
>
> I have a Petro-spin-to-star in a dance of mine, a move I stole from
> another
> dance (Middle School Drama, or something like that?). People are
> going to
> clap, so I recommend mentioning in the walkthrough that the dance is
> smoother if the hands go right in sans-clap.
>
> -Ron
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4:52 p.m.
A la "The Cure for the Claps"?
http://www.sharedweight.net/pipermail/callers/2007-September/001024.html
On Wed, Nov 14, 2012 at 3:28 PM, Jack Mitchell <jamitch3(a)mindspring.com>wrote;wrote:
Rather than saying "Don't clap" I have
found that it can work well to put
the emphasis on what they can do to make the dance work well...Balance the
ring and twirl straight into your partner's arms for a swing. Or in this
case, balance and twirl to the right, letting the twirl send your left hand
into the center for a star....or something like that.
On 11/14/2012 3:18 PM, Kalia Kliban wrote:
I called this the other night and noticed that as
the clap crept in
during the course of the dance the star got later and later, and more
ragged. In some dances the clap is fine. In this dance it definitely gets
in the way. That clap can be hard to quash, though. Next time I call
this, I'll make the point during the teaching and see if it sticks.
Clapping isn't an absolute given here (SF Bay Area) but it tends to spread
if anyone does it even once.
Kalia
On 11/14/2012 11:19 AM, Bob Isaacs wrote:
______________________________**_________________
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Local tastes may vary, but if you're calling
at a series where
Petronella clapping is automatic, you can mention not clapping on the
Petro/star transition (first seen in Becky Hill's Kitchen Stomp, I
believe), but I wouldn't push that too hard. If one of the four claps, the
other three have to wait for the clapper. It's different on
Petro/allemande or Petro/swing transitions, where only two dancers need to
agree on valuing flow over flourishes -
Bob
From: contraron(a)gmail.com
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/**mailman/listinfo/callers<http://www.shared…
I have a Petro-spin-to-star in a dance of mine, a move I stole from
another
dance (Middle School Drama, or something like that?). People are going
to
clap, so I recommend mentioning in the walkthrough that the dance is
smoother if the hands go right in sans-clap.
-Ron
______________________________**_________________ 
7:04 p.m.
I call in the Cambridge area where clapping for a Petronella is
ubiquitous. When I called Kitchen Stomp recently though, I mentioned
the possibility of not clapping because I love the feeling of going
smoothly into that left hand star. I specifically told them that
usually I encourage clapping and talked about how nice it felt and
actually got most of them to clap for the first petronella and not for
the second. I think I may have kept prompting the star and if I'm
remembering correctly, that helped them remember not to clap.
On Wed, Nov 14, 2012 at 4:52 PM, Maia McCormick <maia.mcc(a)gmail.com> wrote:
A la "The Cure for the Claps"?
http://www.sharedweight.net/pipermail/callers/2007-September/001024.html
On Wed, Nov 14, 2012 at 3:28 PM, Jack Mitchell <jamitch3(a)mindspring.com>wrote;wrote:
Rather than saying "Don't clap" I
have found that it can work well to put
the emphasis on what they can do to make the dance work well...Balance the
ring and twirl straight into your partner's arms for a swing. Or in this
case, balance and twirl to the right, letting the twirl send your left hand
into the center for a star....or something like that.
On 11/14/2012 3:18 PM, Kalia Kliban wrote:
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers I called this the other night and noticed that as
the clap crept in
during the course of the dance the star got later and later, and more
ragged. In some dances the clap is fine. In this dance it definitely gets
in the way. That clap can be hard to quash, though. Next time I call
this, I'll make the point during the teaching and see if it sticks.
Clapping isn't an absolute given here (SF Bay Area) but it tends to spread
if anyone does it even once.
Kalia
On 11/14/2012 11:19 AM, Bob Isaacs wrote:
______________________________**_________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/**mailman/listinfo/callers<http://www.shared…
Local tastes may vary, but if you're calling
at a series where
Petronella clapping is automatic, you can mention not clapping on the
Petro/star transition (first seen in Becky Hill's Kitchen Stomp, I
believe), but I wouldn't push that too hard. If one of the four claps, the
other three have to wait for the clapper. It's different on
Petro/allemande or Petro/swing transitions, where only two dancers need to
agree on valuing flow over flourishes -
Bob
From: contraron(a)gmail.com
>
> I have a Petro-spin-to-star in a dance of mine, a move I stole from
> another
> dance (Middle School Drama, or something like that?). People are going
> to
> clap, so I recommend mentioning in the walkthrough that the dance is
> smoother if the hands go right in sans-clap.
>
> -Ron
>
______________________________**_________________
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Callers(a)sharedweight.net
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7:07 p.m.
I imagine this would be RH to your neighbor for the balance. I wonder
if the dance would work well with a box the gnat there instead of a
3/4 alamain. One possible issue with that might be that the women
might expect to do an orbit. On the other hand, if they're really
skilled, maybe you could get them to do a full orbit while the men
alamain left.
On Wed, Oct 31, 2012 at 11:06 PM, Jack Mitchell <jamitch3(a)mindspring.com> wrote:
Does this start in a wave? Or is it just with a RH to
your neighbor for a
balance, and then allemande R?
Jack
On 10/31/2012 9:29 PM, Kalia Kliban wrote:
Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the Plank."
It looks like a nice bouncy dance with good rebound, but there's a
transition from a petronella twirl into a LH star at the end, and in the
absence of a group of guinea pigs here at the house I thought I'd ask if
anyone's tried this and what they think. Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a
star?
Kalia
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8:55 p.m.
There are several dances which begin with a RH bal, BTG, then M pull by (as in G.
Hubert's Sarah's Journey) or Allenande L 1 1/2 as in J. Hutson's Treasure of
Sierra Madre), and I have not noted an urge to orbit. All the spring just gets loaded
into the gents' inward motion. So I am sure a BTG would be fine, even without an
orbit.
-Andrea
Sent from my iPhone
On Nov 14, 2012, at 7:07 PM, Chris Lahey <clahey(a)clahey.net> wrote:
I imagine this would be RH to your neighbor for the
balance. I wonder
if the dance would work well with a box the gnat there instead of a
3/4 alamain. One possible issue with that might be that the women
might expect to do an orbit. On the other hand, if they're really
skilled, maybe you could get them to do a full orbit while the men
alamain left.
On Wed, Oct 31, 2012 at 11:06 PM, Jack Mitchell <jamitch3(a)mindspring.com> wrote:
Does this start in a wave? Or is it just with a
RH to your neighbor for a
balance, and then allemande R?
Jack
On 10/31/2012 9:29 PM, Kalia Kliban wrote:
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Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the Plank."
It looks like a nice bouncy dance with good rebound, but there's a
transition from a petronella twirl into a LH star at the end, and in the
absence of a group of guinea pigs here at the house I thought I'd ask if
anyone's tried this and what they think. Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a
star?
Kalia
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9:01 p.m.
I guess I just think about the orbit a lot because I want to dance it more!
On Wed, Nov 14, 2012 at 8:55 PM, Andrea Nettleton
<twirly-girl(a)bellsouth.net> wrote:
There are several dances which begin with a RH bal,
BTG, then M pull by (as in G. Hubert's Sarah's Journey) or Allenande L 1 1/2 as in
J. Hutson's Treasure of Sierra Madre), and I have not noted an urge to orbit. All the
spring just gets loaded into the gents' inward motion. So I am sure a BTG would be
fine, even without an orbit.
-Andrea
Sent from my iPhone
On Nov 14, 2012, at 7:07 PM, Chris Lahey <clahey(a)clahey.net> wrote:
I imagine this would be RH to your neighbor for
the balance. I wonder
if the dance would work well with a box the gnat there instead of a
3/4 alamain. One possible issue with that might be that the women
might expect to do an orbit. On the other hand, if they're really
skilled, maybe you could get them to do a full orbit while the men
alamain left.
On Wed, Oct 31, 2012 at 11:06 PM, Jack Mitchell <jamitch3(a)mindspring.com> wrote:
_______________________________________________
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http://www.sharedweight.net/mailman/listinfo/callers Does this start in a wave? Or is it just with a
RH to your neighbor for a
balance, and then allemande R?
Jack
On 10/31/2012 9:29 PM, Kalia Kliban wrote:
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Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the Plank."
It looks like a nice bouncy dance with good rebound, but there's a
transition from a petronella twirl into a LH star at the end, and in the
absence of a group of guinea pigs here at the house I thought I'd ask if
anyone's tried this and what they think. Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a
star?
Kalia
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9:14 p.m.
Minor point: There are no balances in Sarah's Journey. Neither box
the gnat starts with a balance. It's a smooth dance rather than bouncy.
-Joy
On Nov 14, 2012, at 8:55 PM, Andrea Nettleton wrote:
There are several dances which begin with a RH bal,
BTG, then M pull
by (as in G. Hubert's Sarah's Journey) or Allenande L 1 1/2 as in J.
Hutson's Treasure of Sierra Madre), and I have not noted an urge to
orbit. All the spring just gets loaded into the gents' inward
motion. So I am sure a BTG would be fine, even without an orbit.
-Andrea
Sent from my iPhone
On Nov 14, 2012, at 7:07 PM, Chris Lahey <clahey(a)clahey.net> wrote:
I imagine this would be RH to your neighbor for
the balance. I
wonder
if the dance would work well with a box the gnat there instead of a
3/4 alamain. One possible issue with that might be that the women
might expect to do an orbit. On the other hand, if they're really
skilled, maybe you could get them to do a full orbit while the men
alamain left.
On Wed, Oct 31, 2012 at 11:06 PM, Jack Mitchell <jamitch3(a)mindspring.com
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers wrote:
Does this start in a wave? Or is it just with a RH to your
neighbor for a
balance, and then allemande R?
Jack
On 10/31/2012 9:29 PM, Kalia Kliban wrote:
_______________________________________________
Callers mailing list
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Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the
Plank."
It looks like a nice bouncy dance with good rebound, but there's a
transition from a petronella twirl into a LH star at the end, and
in the
absence of a group of guinea pigs here at the house I thought I'd
ask if
anyone's tried this and what they think. Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands
for a
star?
Kalia
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9:27 p.m.
True. I really only meant that a BTG does not necessarily call for both parties to pull
into the next move, but all the energy can be given to just one dancer to move to the
center.
A
Sent from my iPhone
On Nov 14, 2012, at 9:14 PM, Joy Greenwolfe <joy2the(a)mindspring.com> wrote:
Minor point: There are no balances in Sarah's
Journey. Neither box the gnat starts with a balance. It's a smooth dance rather than
bouncy.
-Joy
On Nov 14, 2012, at 8:55 PM, Andrea Nettleton wrote:
There are several dances which begin with a RH
bal, BTG, then M pull by (as in G. Hubert's Sarah's Journey) or Allenande L 1 1/2
as in J. Hutson's Treasure of Sierra Madre), and I have not noted an urge to orbit.
All the spring just gets loaded into the gents' inward motion. So I am sure a BTG
would be fine, even without an orbit.
-Andrea
Sent from my iPhone
On Nov 14, 2012, at 7:07 PM, Chris Lahey <clahey(a)clahey.net> wrote:
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http://www.sharedweight.net/mailman/listinfo/callers I imagine this would be RH to your neighbor for
the balance. I wonder
if the dance would work well with a box the gnat there instead of a
3/4 alamain. One possible issue with that might be that the women
might expect to do an orbit. On the other hand, if they're really
skilled, maybe you could get them to do a full orbit while the men
alamain left.
On Wed, Oct 31, 2012 at 11:06 PM, Jack Mitchell <jamitch3(a)mindspring.com> wrote:
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http://www.sharedweight.net/mailman/listinfo/callers Does this start in a wave? Or is it just with a
RH to your neighbor for a
balance, and then allemande R?
Jack
On 10/31/2012 9:29 PM, Kalia Kliban wrote:
>
> Hi all
>
> Just wondering about a transition in Nathaniel Jack's "Walk the
Plank."
> It looks like a nice bouncy dance with good rebound, but there's a
> transition from a petronella twirl into a LH star at the end, and in the
> absence of a group of guinea pigs here at the house I thought I'd ask if
> anyone's tried this and what they think. Here are the notes:
>
> Walk the Plank Duple Imp.
> A1 4,4 Neighbor balance, Al right 3/4
> 8 Men Al left 1-1/2
> A2 16 Partner Bal + Swing, end facing down
> B1 8 Down the hall in lines of 4, turn alone
> 8 Come back up, bend the line to a circle
> B2 8 Balance the ring, spin right one place
> 8 Star left 1ce around.
>
> Is it comfortable to come from that twirl into catching L hands for a
> star?
>
> Kalia
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15 Nov
15 Nov
1:28 a.m.
In the Missouri tradition of Gene Hubert....
http://dancevideos.childgrove.org/contra/contra-modern/318-drama-in-middle-…
.....
On Wed, Nov 14, 2012 at 1:06 PM, Ron T Blechner <contraron(a)gmail.com> wrote:
I have a Petro-spin-to-star in a dance of mine, a move
I stole from another
dance (Middle School Drama, or something like that?). People are going to
clap, so I recommend mentioning in the walkthrough that the dance is
smoother if the hands go right in sans-clap.
-Ron
On Wed, Oct 31, 2012 at 11:14 PM, Andrea Nettleton <
twirly-girl(a)bellsouth.net> wrote:
It works great as long as everyone spins the
appropriate way. If you
have
new dancers in the crowd, it is worth teaching
that when spinning R, one
points one's chin to the R and follows it around. I have seen even
dancers
who have danced for awhile spin them selves the
other way. When spinning
the 'right' way, your left hand is free and momentum easily swings it to
the center for a star L. If you happened to have spun the other way,
there
is no way to flow gracefully into the star. If I
hadn't seen this
awkward
spinning from the stage, I would not have
believed people could keep
choosing what looks to me like such a counter intuitive motion, but they
do. If this is the second spin to the R dance of the night or you have a
crowd of at least somewhat experienced dancers, they will enjoy the flow
very much.
A
Sent from my iPhone
On Oct 31, 2012, at 9:29 PM, Kalia Kliban <kalia(a)sbcglobal.net> wrote:
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Hi all
Just wondering about a transition in Nathaniel Jack's "Walk the Plank."
It looks like a nice bouncy dance with good rebound, but there's a
transition from a petronella twirl into a LH star at the end, and in the
absence of a group of guinea pigs here at the house I thought I'd ask if
anyone's tried this and what they think. Here are the notes:
Walk the Plank Duple Imp.
A1 4,4 Neighbor balance, Al right 3/4
8 Men Al left 1-1/2
A2 16 Partner Bal + Swing, end facing down
B1 8 Down the hall in lines of 4, turn alone
8 Come back up, bend the line to a circle
B2 8 Balance the ring, spin right one place
8 Star left 1ce around.
Is it comfortable to come from that twirl into catching L hands for a
star?
Kalia
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9:57 a.m.
Chris Lahey wrote:
I specifically told them that usually I encourage
clapping and
talked about how nice it felt and actually got most of them to clap
for the first petronella and not for the second.
I think presenting yourself as being on the pro-clapping side is
probably key to why that worked for you. Many callers don't like
clapping on petronellas and dancers who like the clapping know that
callers think this. So when a caller says "don't clap", even if it
really is specific to this particular dance, a lot of people think
"don't tell me how to dance" and ignore them.
Jeff
10:06 a.m.
In my opinion - this is getting too regimented again.
I never tell dancers if they should clap or not. I have been known to let them know how I
feel about it in light hearted way.
Just let them dance and focus on the important stuff
Mac
________________________________
From: Jeff Kaufman <jeff(a)alum.swarthmore.edu>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Thursday, November 15, 2012 8:57 AM
Subject: Re: [Callers] Walk the Plank
Chris Lahey wrote:
I specifically told them that usually I encourage
clapping and
talked about how nice it felt and actually got most of them to clap
for the first petronella and not for the second.
I think presenting yourself as being on the pro-clapping side is
probably key to why that worked for you. Many callers don't like
clapping on petronellas and dancers who like the clapping know that
callers think this. So when a caller says "don't clap", even if it
really is specific to this particular dance, a lot of people think
"don't tell me how to dance" and ignore them.
Jeff
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6:31 p.m.
Oh, yeah, I certainly don't order them not to clap. I tell them that
I think that the dance is more fun if you don't clap. And I often
mention that there aren't any contra police to come after them if they
do clap.
On Thu, Nov 15, 2012 at 10:06 AM, Richard Mckeever <macmck(a)ymail.com> wrote:
In my opinion - this is getting too regimented again.
I never tell dancers if they should clap or not. I have been known to let them know how
I feel about it in light hearted way.
Just let them dance and focus on the important stuff
Mac
________________________________
From: Jeff Kaufman <jeff(a)alum.swarthmore.edu>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Thursday, November 15, 2012 8:57 AM
Subject: Re: [Callers] Walk the Plank
Chris Lahey wrote:
I specifically told them that usually I encourage
clapping and
talked about how nice it felt and actually got most of them to clap
for the first petronella and not for the second.
I think presenting yourself as being on the pro-clapping side is
probably key to why that worked for you. Many callers don't like
clapping on petronellas and dancers who like the clapping know that
callers think this. So when a caller says "don't clap", even if it
really is specific to this particular dance, a lot of people think
"don't tell me how to dance" and ignore them.
Jeff
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19 comments
13 participants
participants (13)
-
Alan Winston -
Andrea Nettleton -
Bob Green -
Bob Isaacs -
Chris Lahey -
Jack Mitchell -
James Saxe -
Jeff Kaufman -
Joy Greenwolfe -
Kalia Kliban -
Maia McCormick -
Richard Mckeever -
Ron T Blechner