That said, in many cases it's possible to simply
alternative the active role> between the 1s and 2s, and balance the dance better. Some
callers do this.> (I don't think there's a good way to do it with Chorus Jig,
Yes there is - when sets are long enough, I've been using this version
for a few years;
1A1. 1's down the outside, turn alone and return
1A2. 1's down the center, turn alone, return and cast off
1B1. 1's turn contra corners
1B2. 1's balance, swing
2A1. 2's up the outside, turn alone and return
2A2. 2's up the center, turn alone, return and cast off
2B1. 2's turn contra corners
2B2. 2's balance, swing
As we all know, it has been customary for the inactives to cheat and swing during the A1.
When the actives are done with B2 in this version, they can start cheating by simply keep
on swinging - they're already there. Then after about a 28 beat swing they'll
appreciate being inactive for a while.
On the subject of shadow swings, the best dance I know of with one is;
Ten Strings Attached Improper, Jim Saxe/Charlie Fenton
A1. Neighbor balance, swing
A2. Gents allemande L 1 1/2 - give R to partner to form wave/4
Balance, walk forward
B1. Shadow swing, partner swing
B2. Partner promenade across, ladies chain
Unlike swing-swing with different neighbors, the roll from shadow to partner can get
better with repetition as all know who they are going to. Another B2 here that gives some
needed partner interaction is circle L 3/4, balance, California twirl.
I call shadow swing once in a while, and agree that they are best reserved for experienced
audiences and dance camps. I have yet to write a dance with one in it, partly due to
their limited use and partly because it isn't easy to find sequences like Ten Strings
Attached that have a shadow swing and enough neighbor and partner action.
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