Thoughts on B2/A1 swings and having time to flourish - Contra Callers

27 Mar 2016

Hola all,

So Amy's followup to her "Is this a new dance" query brought up something
i've been thinking about for a while. (Amy & Tom - i'm collecting it with
Tom's B2 modification and attributing it as Wimmer, variation Hinds.)

A 16-count swing does go on forever. But it is also awesome - and i mean
truly awesome - to have a full 12-count swing plus 4 counts to pull off one
of the more time consuming flourishes (like the ripcord twirl, seen in the
wild here
https://www.youtube.com/watch?v=iVpR6SxWsM4&list=RDIVquC0jqCXs&t=2m… and
taught here https://www.youtube.com/watch?v=hbyoOPc0rHQ, one of my favorite
swing ending flourishes but one that takes too much time to be executed in
an 8-count swing window).

I know attitudes on twirls vary, so i should state clearly my opinion: i
think flourishes, while neither traditional nor intrinsic to our dance
form, add a lot to contra when they are executed safely, consensually, and
in a manner mindful of the foursome and set as a whole. That to me implies
that when and how to use twirls well - and how to time them - can be a
potential style point when dances allow for them, particularly where a
16-count swing may bore or tire dancers, yet allows plenty of time to
flourish and arrive on time for the next move. We could, as
choreographers, maybe even write more 16-count swings for use with the
crowds that love to flourish. Less subtle: If you're calling a 16-count
swing, why not point out to the dancers there's no excuse for arriving late
after a flourish?

The A1 placement of the partner swing in Amy's dance "Feelin' the Bern"
also appeals to me for a quite specific reason. Some callers are of a mind
that every dance should end with a swing, while others (this camp including
myself) feel that getting back on the microphone to change the final B to
accomplish that is bad form, but do appreciate the elegance of being with
or at least aimed toward your partner at the end of a dance and try to
facilitate that effect when possible, and others don't give a crap about
where dancers are facing when the music stops. (NOTE: This is to
acknowledge the various camps, not to launch a thread on which approach is
better!!!) Flowing from this, i fully support A1 partner swings, because
it's another way to accomplish the aimed-toward-partner-when-dance-ends
thing that doesn't involve an A1 circle L or slide. ;-)

On a slightly different but related note: As i work to assemble a DJ
repertoire of contradanceable EDM, i've noticed that many remixes are
perfectly contra-ready save for a "build to drop" element that occurs in
the music where the B2 ends, in effect adding from 4 to 8 counts to the B2
but usually only once through. Rather than re-working the track to
eliminate the build/drop element, which would create the feeling something
substantial is missing, I'm toying with the notion of pairing such material
with B2 swings so dancers get a slightly longer swing during that iteration
of the dance. Thinking getting back on microphone to say "keep swinging"
and then prompt the A1 with recorded music isn't such bad form. Open to
feedback on that.

I'd appreciate if folks keep responses to this message
positive/constructive in tone (vis-a-vis argumentative or dismissive) as
i've been super depressed lately and positivity helps. Hope you all are
having a good holiday weekend whether you're celebrating Easter or
recovering from a raucous Purim or burning off all those Newroz treats or
still doing laundry after Holi (did i get them all?!)

Tavi