7 Feb
2010
7 Feb
'10
7:58 a.m.
I have been trying to work out how Orace Johnson's becket contra works.
I have the dance from the year 2000 syllabus of the New England Dance Legacy
Weekend, in other years also called the Ralph Page Legacy Weekend.
*Du Quoin Races *by Orace Johnson (1991)
As called by: Laura Johannes
Formation: Contra, Becket formation
Reels: *Gravel Walk/Molly Rankin's/Sarah's New Tune *(Sarah Hydorn)
A1- Balance ring, pass through to an ocean wave
And balance again, allemande right 3/4 to form long waves (men facing out,
women in)
A2- Balance, women cross set to where partner is standing as men turn into
the place of the
woman on their right. Form new long waves with the women facing out and the
men in.
Balance, “rotate” again (men walking across set, women looping around to the
right)
B1- Swing partner on the side (the same side you started on)
Circle left halfway, roll away with a half sashay to trade places with
neighbors (across set)
B2- Circle left halfway, roll away with a half sashay to trade places with
partners (along set)
Circle left halfway, and shift left along the set to face new neighbors
To “pass through to an ocean wave," begin to pass through across the set.
Ladies catch each other's left hand and
turn just 1/4 as the gents cross all the way, turn right, and take partners’
right hands to form wavy lines-of-4 across.**
I don't seem to get far as after A1 I have partners beside each other in the
long wavy lines. In A2 the ladies should cross to their partners place. I'm
sure David Smukler hasn't made a mistake in his record of the dance, but I
cant find my mistake. Can anyone help me?
John Tuck
7 Feb
7 Feb
8:07 a.m.
The mistake is the notation in the A2. After the pass through to a wave
and the allemande, people have their partners in their right hand. It
should read "women cross set to where neighbor is standing and men turn
into their partner's place". Then the rest of it works.
Chris Weiler
Goffstown, NH
John Tuck wrote:
I have been trying to work out how Orace Johnson's
becket contra works.
I have the dance from the year 2000 syllabus of the New England Dance Legacy
Weekend, in other years also called the Ralph Page Legacy Weekend.
*Du Quoin Races *by Orace Johnson (1991)
As called by: Laura Johannes
Formation: Contra, Becket formation
Reels: *Gravel Walk/Molly Rankin's/Sarah's New Tune *(Sarah Hydorn)
A1- Balance ring, pass through to an ocean wave
And balance again, allemande right 3/4 to form long waves (men facing out,
women in)
A2- Balance, women cross set to where partner is standing as men turn into
the place of the
woman on their right. Form new long waves with the women facing out and the
men in.
Balance, “rotate” again (men walking across set, women looping around to the
right)
B1- Swing partner on the side (the same side you started on)
Circle left halfway, roll away with a half sashay to trade places with
neighbors (across set)
B2- Circle left halfway, roll away with a half sashay to trade places with
partners (along set)
Circle left halfway, and shift left along the set to face new neighbors
To “pass through to an ocean wave," begin to pass through across the set.
Ladies catch each other's left hand and
turn just 1/4 as the gents cross all the way, turn right, and take partners’
right hands to form wavy lines-of-4 across.**
I don't seem to get far as after A1 I have partners beside each other in the
long wavy lines. In A2 the ladies should cross to their partners place. I'm
sure David Smukler hasn't made a mistake in his record of the dance, but I
cant find my mistake. Can anyone help me?
John Tuck
_______________________________________________
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1:40 p.m.
I would second that.
In "Midwest Folklore" a fine book of Midwestern Dances (plug, plug), edited
by the dance's author, Orace Johnson, it says of DuQuoin Races:
A2 Balance (4) (Women step forward across the set to take neighbor's place,
while men loop right to take partner's place, thus forming long wavy lines
with the women facing out, and the men facing in.)
Balance. Men cross set as women loop right.
I particularly like the contrast between the somewhat quaint and formal
language of the explanation in parentheses with the curt, efficient "Men
cross as women loop right".
M
E
On Sun, Feb 7, 2010 at 7:07 AM, Chris Weiler (home) <
chris.weiler(a)weirdtable.org> wrote:
--
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
5:20 p.m.
This dance has been one of my favorites for a long time. The first
half for its precision and the second half for its flow. With the
tight tune, it can be magical!
On Feb 7, 2010, at 1:40 PM, Martha Edwards wrote:
I would second that.
In "Midwest Folklore" a fine book of Midwestern Dances (plug, plug),
edited
by the dance's author, Orace Johnson, it says of DuQuoin Races:
A2 Balance (4) (Women step forward across the set to take neighbor's
place,
while men loop right to take partner's place, thus forming long wavy
lines
with the women facing out, and the men facing in.)
Balance. Men cross set as women loop right.
I particularly like the contrast between the somewhat quaint and
formal
language of the explanation in parentheses with the curt, efficient
"Men
cross as women loop right".
M
E
On Sun, Feb 7, 2010 at 7:07 AM, Chris Weiler (home) <
chris.weiler(a)weirdtable.org> wrote:
--
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
16 Feb
16 Feb
2:25 a.m.
Susan, you seem to know the dance well, how does the progression go? I get
the couples crossing sides but then coming back again
JoT
2010/2/7 Susan Moffett <smoffett(a)insightbb.com>
This dance has been one of my favorites for a long
time. The first half for
its precision and the second half for its flow. With the tight tune, it can
be magical!
On Feb 7, 2010, at 1:40 PM, Martha Edwards wrote:
I would second that.
In "Midwest Folklore" a fine book of Midwestern Dances (plug, plug),
edited
by the dance's author, Orace Johnson, it says of DuQuoin Races:
A2 Balance (4) (Women step forward across the set to take neighbor's
place,
while men loop right to take partner's place, thus forming long wavy lines
with the women facing out, and the men facing in.)
Balance. Men cross set as women loop right.
I particularly like the contrast between the somewhat quaint and formal
language of the explanation in parentheses with the curt, efficient "Men
cross as women loop right".
M
E
On Sun, Feb 7, 2010 at 7:07 AM, Chris Weiler (home) <
chris.weiler(a)weirdtable.org> wrote:
--
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
_______________________________________________
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
12:35 p.m.
After the second circle left halfway/rollaway with a half sashay in
the B2 part, slide left with partner to a new couple.
It works!
On Feb 16, 2010, at 2:25 AM, John Tuck wrote:
Susan, you seem to know the dance well, how does the
progression go?
I get
the couples crossing sides but then coming back again
JoT
2010/2/7 Susan Moffett <smoffett(a)insightbb.com>
This dance has been one of my favorites for a
long time. The first
half for
its precision and the second half for its flow. With the tight
tune, it can
be magical!
On Feb 7, 2010, at 1:40 PM, Martha Edwards wrote:
I would second that.
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
In "Midwest Folklore" a fine book of Midwestern Dances (plug, plug),
edited
by the dance's author, Orace Johnson, it says of DuQuoin Races:
A2 Balance (4) (Women step forward across the set to take neighbor's
place,
while men loop right to take partner's place, thus forming long
wavy lines
with the women facing out, and the men facing in.)
Balance. Men cross set as women loop right.
I particularly like the contrast between the somewhat quaint and
formal
language of the explanation in parentheses with the curt,
efficient "Men
cross as women loop right".
M
E
On Sun, Feb 7, 2010 at 7:07 AM, Chris Weiler (home) <
chris.weiler(a)weirdtable.org> wrote:
--
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
_______________________________________________
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
23 Feb
23 Feb
10:02 a.m.
We danced Du Quoin Races last evening and it went really well. They want it
again next week! Thanks for you help.
John Tuck
2010/2/16 Susan Moffett <smoffett(a)insightbb.com>
After the second circle left halfway/rollaway with a
half sashay in the B2
part, slide left with partner to a new couple.
It works!
On Feb 16, 2010, at 2:25 AM, John Tuck wrote:
Susan, you seem to know the dance well, how does the progression go? I get
the couples crossing sides but then coming back
again
JoT
2010/2/7 Susan Moffett <smoffett(a)insightbb.com>
This dance has been one of my favorites for a long time. The first half
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
for
its precision and the second half for its flow. With the tight tune, it
can
be magical!
On Feb 7, 2010, at 1:40 PM, Martha Edwards wrote:
I would second that.
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
In "Midwest Folklore" a fine book of Midwestern Dances (plug, plug),
edited
by the dance's author, Orace Johnson, it says of DuQuoin Races:
A2 Balance (4) (Women step forward across the set to take neighbor's
place,
while men loop right to take partner's place, thus forming long wavy
lines
with the women facing out, and the men facing in.)
Balance. Men cross set as women loop right.
I particularly like the contrast between the somewhat quaint and formal
language of the explanation in parentheses with the curt, efficient "Men
cross as women loop right".
M
E
On Sun, Feb 7, 2010 at 7:07 AM, Chris Weiler (home) <
chris.weiler(a)weirdtable.org> wrote:
--
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
_______________________________________________
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
_______________________________________________ 
27 Feb
27 Feb
1:34 p.m.
How much trouble do folks have ending a swing in the middle of the
phrase? I hadn't registered that it did that until I started
transcribing it. Seems like it would really need particular tunes for
the dancers to be able to hear that. What kinds of tunes have you done
it to?
Jack
On 2/7/2010 5:20 PM, Susan Moffett wrote:
This dance has been one of my favorites for a long
time. The first
half for its precision and the second half for its flow. With the
tight tune, it can be magical!
On Feb 7, 2010, at 1:40 PM, Martha Edwards wrote:
I would second that.
In "Midwest Folklore" a fine book of Midwestern Dances (plug, plug),
edited
by the dance's author, Orace Johnson, it says of DuQuoin Races:
A2 Balance (4) (Women step forward across the set to take neighbor's
place,
while men loop right to take partner's place, thus forming long wavy
lines
with the women facing out, and the men facing in.)
Balance. Men cross set as women loop right.
I particularly like the contrast between the somewhat quaint and formal
language of the explanation in parentheses with the curt, efficient "Men
cross as women loop right".
M
E
On Sun, Feb 7, 2010 at 7:07 AM, Chris Weiler (home) <
chris.weiler(a)weirdtable.org> wrote:
--
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
_______________________________________________
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
2:31 p.m.
It's been my experience that dancers have a lot of difficulty ending a swing
mid-phrase. It just doesn't feel right. And some people don't hear or feel
the phrasing well enough to be on time. Often those dances need to be
prompted at that point, all the way through to the end.
Barbara
----- Original Message -----
From: "Jack Mitchell" <jamitch3(a)mindspring.com>
To: "Caller's discussion list" <callers(a)sharedweight.net>
Sent: Saturday, February 27, 2010 1:34 PM
Subject: Re: [Callers] Du Quoin Races
How much trouble do folks have ending a swing in the
middle of the
phrase? I hadn't registered that it did that until I started
transcribing it. Seems like it would really need particular tunes for
the dancers to be able to hear that. What kinds of tunes have you done
it to?
Jack
On 2/7/2010 5:20 PM, Susan Moffett wrote:
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14:39:00
This dance has been one of my favorites for a
long time. The first
half for its precision and the second half for its flow. With the
tight tune, it can be magical!
On Feb 7, 2010, at 1:40 PM, Martha Edwards wrote:
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers I would second that.
In "Midwest Folklore" a fine book of Midwestern Dances (plug, plug),
edited
by the dance's author, Orace Johnson, it says of DuQuoin Races:
A2 Balance (4) (Women step forward across the set to take neighbor's
place,
while men loop right to take partner's place, thus forming long wavy
lines
with the women facing out, and the men facing in.)
Balance. Men cross set as women loop right.
I particularly like the contrast between the somewhat quaint and formal
language of the explanation in parentheses with the curt, efficient "Men
cross as women loop right".
M
E
On Sun, Feb 7, 2010 at 7:07 AM, Chris Weiler (home) <
chris.weiler(a)weirdtable.org> wrote:
--
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
_______________________________________________
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
5:28 p.m.
I have found that the dancers need a good deal of prompting at first
since ending the swing mid phrase is rather counter intuitive, but
they get the idea and it flows just fine.
On Feb 27, 2010, at 2:31 PM, Barbara Groh wrote:
It's been my experience that dancers have a lot of
difficulty ending
a swing mid-phrase. It just doesn't feel right. And some people
don't hear or feel the phrasing well enough to be on time. Often
those dances need to be prompted at that point, all the way through
to the end.
Barbara
----- Original Message ----- From: "Jack Mitchell" <jamitch3(a)mindspring.com
To: "Caller's discussion
list" <callers(a)sharedweight.net>
Sent: Saturday, February 27, 2010 1:34 PM
Subject: Re: [Callers] Du Quoin Races
How much trouble do folks have ending a swing in
the middle of the
phrase? I hadn't registered that it did that until I started
transcribing it. Seems like it would really need particular tunes
for
the dancers to be able to hear that. What kinds of tunes have you
done
it to?
Jack
On 2/7/2010 5:20 PM, Susan Moffett wrote:
--------------------------------------------------------------------------------
No virus found in this incoming message.
Checked by AVG - www.avg.com
Version: 9.0.733 / Virus Database: 271.1.1/2712 - Release Date:
02/26/10 14:39:00
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers This dance has been one of my favorites for a
long time. The first
half for its precision and the second half for its flow. With the
tight tune, it can be magical!
On Feb 7, 2010, at 1:40 PM, Martha Edwards wrote:
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers I would second that.
In "Midwest Folklore" a fine book of Midwestern Dances (plug,
plug),
edited
by the dance's author, Orace Johnson, it says of DuQuoin Races:
A2 Balance (4) (Women step forward across the set to take
neighbor's
place,
while men loop right to take partner's place, thus forming long
wavy
lines
with the women facing out, and the men facing in.)
Balance. Men cross set as women loop right.
I particularly like the contrast between the somewhat quaint and
formal
language of the explanation in parentheses with the curt,
efficient "Men
cross as women loop right".
M
E
On Sun, Feb 7, 2010 at 7:07 AM, Chris Weiler (home) <
chris.weiler(a)weirdtable.org> wrote:
--
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
_______________________________________________
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
7:51 p.m.
Another option is to start the dance right after the partner swing. But then
not all of the balances would be in the same section.
On Sat, Feb 27, 2010 at 11:31 AM, Barbara Groh wrote:
It's been my experience that dancers have a lot of
difficulty ending a
swing mid-phrase. It just doesn't feel right. And some people don't hear or
feel the phrasing well enough to be on time. Often those dances need to be
prompted at that point, all the way through to the end.
Barbara
9 Feb
9 Feb
4:17 a.m.
Thankyou for your help.
2010/2/7 John Tuck <jatuckdk(a)gmail.com>
I have been trying to work out how Orace Johnson's
becket contra works.
I have the dance from the year 2000 syllabus of the New England Dance
Legacy Weekend, in other years also called the Ralph Page Legacy Weekend.
*Du Quoin Races *by Orace Johnson (1991)
As called by: Laura Johannes
Formation: Contra, Becket formation
Reels: *Gravel Walk/Molly Rankin's/Sarah's New Tune *(Sarah Hydorn)
A1- Balance ring, pass through to an ocean wave
And balance again, allemande right 3/4 to form long waves (men facing out,
women in)
A2- Balance, women cross set to where partner is standing as men turn into
the place of the
woman on their right. Form new long waves with the women facing out and the
men in.
Balance, “rotate” again (men walking across set, women looping around to
the right)
B1- Swing partner on the side (the same side you started on)
Circle left halfway, roll away with a half sashay to trade places with
neighbors (across set)
B2- Circle left halfway, roll away with a half sashay to trade places with
partners (along set)
Circle left halfway, and shift left along the set to face new neighbors
To “pass through to an ocean wave," begin to pass through across the set.
Ladies catch each other's left hand and
turn just 1/4 as the gents cross all the way, turn right, and take
partners’ right hands to form wavy lines-of-4 across.**
I don't seem to get far as after A1 I have partners beside each other in
the long wavy lines. In A2 the ladies should cross to their partners place.
I'm sure David Smukler hasn't made a mistake in his record of the dance, but
I cant find my mistake. Can anyone help me?
John Tuck
5411
days inactive
5432
days old
contracallers@lists.sharedweight.net
11 comments
7 participants
participants (7)
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Barbara Groh -
Chris Weiler (home) -
Gary Shapiro -
Jack Mitchell -
John Tuck -
Martha Edwards -
Susan Moffett