New subject: Heys where partners meet

21 Aug 2011

Hi, John,
This isn't quite the same thing, but I like ricochet heys, and I  
thought it would be nice to be doing the ricochet with your own  
partner.  So I wrote a couple of dances where partners meet in the  
hey. I suppose they could be done without the ricochet and the  
partners could spin off each other. In the first one, the 2s are  
doing the hey while the 1s ricochet. In the second the 1s hey while  
the 2s ricochet.  The first is a little more difficult, but both 1s  
and 2s get to swing, even though it is unequal. The second has the  
ones swing and a neighbor swing. I first danced these heys in a dance  
called Huntsville's Queen Bee Hey by Jane Ewing, where the women walk  
the hey pattern while the men ricochet. I figured that if the men  
were doing the hey it would be a King Bee Hey (so I wrote one like  
that) and so I named these Worker Bee Hey #1 and #2. Didn't know they  
were called ricochet heys until later. I'm just copying these from a  
little book I put together, sorry if there is duplication of any  
details. It is also possible that version 2, if you leave out the  
ricochet hey aspect, may have been devised by someone else, as it is  
fairly straightforward.

Worker Bee Hey #1				Martha Wild

Duple improper         September 24, 2006

A1         Down the set four in line (1s inside)

          Turn as couples and return*, face in^

A2         “Worker bee” hey@, 2s start passing right shoulder

B1         2s gypsy and swing, end swing facing up!

B2         Handy-hand allemande ~1 ½ times (2s on the inside to start)

          1s swing and face down

* A little odd as the men are on the right of the women for the turn.

^ The line is not bent, all just turn to face center, 2s facing each  
other, 1s behind.

@ I thought it would be nice to do the push off of a “queen bee” hey  
with one’s own partner. In this case, the #2 couple does a full hey,  
passing right shoulders to start, while the #1 couple meets at the  
center and pushes off backwards in little counterclockwise circles.

It helps to instruct the 1s to stand a little above the 2s while they  
swing so they see them when they end and are ready for the handy-hand  
allemande.

Worker Bee Hey #2   				Martha Wild

Duple Improper         September 24, 2006

A1         Do-si-do neighbor

          Swing neighbor

A2         Four in line down the set

          Turn as couples, come back up

B1         Face in, “Worker Bee” hey, 1s start^

B2         1s gypsy and swing

^ Worker bee hey is as described above.

I like version 1 because both 1s and 2s get a partner swing. This is  
an easier version, but unequal.

Martha Wild

On Aug 21, 2011, at 9:00 AM, callers-request(a)sharedweight.net wrote:

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 Today's Topics:

    1. Heys Where Partners Meet (John Sweeney)
    2. Re: Callers Digest, Vol 84, Issue 15 (Tom Hinds)
    3. Re: Heys Where Partners Meet (Luke Donev)
    4. Re: 50% rule (Richard Hart)

 ----------------------------------------------------------------------

 Message: 1
 Date: Sun, 21 Aug 2011 12:32:23 +0100
 From: "John Sweeney" &lt;info(a)contrafusion.co.uk&gt;
 To: &lt;callers(a)sharedweight.net&gt;
 Subject: [Callers] Heys Where Partners Meet
 Message-ID: <21E3296A26AB4820B1BCF3FF5D672895@JohnT400>
 Content-Type: text/plain;	charset="us-ascii"

 My wife and I like spinning off each other in Heys.  But we very  
 rarely
 meet in the middle of a Hey :-(

 Flirtation Reel is a great example of a dance where you meet your
 Partner in the middle of the Hey, but I can't find any other dances
 where that happens.

 Does anyone know of any other good dances where you meet your  
 Partner in
 the middle of a Hey?

             Thanks.

             Happy dancing,
                         John

 John Sweeney, Dancer, England   john(a)modernjive.com 01233 625 362 &
 07802 940 574
 http://www.contrafusion.co.uk <http://www.contrafusion.co.uk/>  for
 Dancing in Kent

 ------------------------------

 Message: 2
 Date: Sun, 21 Aug 2011 09:28:00 -0400
 From: Tom Hinds &lt;twhinds(a)earthlink.net&gt;
 To: callers(a)sharedweight.net
 Subject: Re: [Callers] Callers Digest, Vol 84, Issue 15
 Message-ID: &lt;94D71EA1-0AA5-4F85-971A-35A3C71E6B7B(a)earthlink.net&gt;
 Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

 Jim

 Although I can't answer your first question about keeping track of
 all the dances, I can say something about what constitutes a new
 dance.  I remember Ted Sannella saying that a dance is new if it has
 50% new or unique choreography.  By his definition if 50% or more of
 the dance is different than any other dance then it's a new dance.
 If a dance has less than 50% it's a variation.

 He didn't go into any more specifics and I wasn't wise enough to ask
 any questions.   But if you look at some of the old dances like
 Petronella and Hull's victory, they have identical B parts and unique
 A parts.  The same applies to Chorus Jig and Rory O' More.

 Squares can also follow this 50% rule.  For example there are a
 number of squares like Queen's Quadrille that have unique A parts
 while the B part is circle left half, swing corner, promenade.

 T

 ------------------------------

 Message: 3
 Date: Sun, 21 Aug 2011 09:59:54 -0400
 From: Luke Donev &lt;luke.donev(a)gmail.com&gt;
 To: "Caller's discussion list" &lt;callers(a)sharedweight.net&gt;
 Subject: Re: [Callers] Heys Where Partners Meet
 Message-ID:
 	&lt;CAFrKOZY9sQXDyCnd5RPtG=4fJVYUFGr+WZrSW=8-Mpj1wEahPg(a)mail.gmail.com&gt;
 Content-Type: text/plain; charset=ISO-8859-1

 John Sweeney &lt;info(a)contrafusion.co.uk&gt; wrote:

  Flirtation Reel is a great example of a dance
where you meet your  
 Partner
 in the middle of the Hey, but I can't find any other dances where  
 that
 happens.

 Hi John,

 I think the structure of Flirtation Reel (*http://tinyurl.com/ 
 3mlyrtm*)
 highlights why it's uncommon. The down the hall of *A1* seems the  
 cleanest
 way of setting up partners back to back at the start of a hey for  
 *A2*. The
 *B1* neighbor swing flows well after the hey, which leaves you *B2*  
 to get a
 partner swing and progression in.

 There are ways to gain the choreographic latitude you'd need.
 If you're willing to spread a hey across phrases (I've met folks  
 who detest
 that) you could shorted the neighbor swing and still end the swing  
 on phrase
 (as opposed to interrupting a swing half phrase, which is  
 unpopular). For
 example:

 *Restless Sunday Morning*
 Improper
 *A1*
 2s half figure eight and a little more to face their partner in the  
 middle
 of a line of four
 2s start a hey for four passing partner by left
 *A2*
 finish hey for four, 2s have extra pass in middle
 Neighbor swing on gent's home side*
 B1*
 Circle Left,
 Partner swing *
 B2*
 Ladies chain across,
 long lines forward and back

 The *B*'s have a lot more freedom for the partner swing and  
 progression,
 those are just some of what you could do.

 If you're against splitting the hey, you could compress the  
 position results
 of the line of four:

 *After the Honeymoon*
 Improper
 start with the 1s between the 2s, facing neighbor
 *A1*
 Pass Neighbor by Right to start a hey
 *A2*
 Neighbor balance and swing
 *B1*
 Give and (men) take
 Partner swing (gent's home side)
 *B2*
 Circle Left 3/4
 Balance the ring
 2s make an arch, 1s duck through and move down to between new 2s,  
 facing
 out.

 I think as a style point, I might teach the *B2*'s arch duck as the  
 1s drop
 partner's hand and are somewhat hand-casted through the arch by  
 their 2s.
 Without a few folks to play with it in my living room, I'm not sure  
 yet.

 The *B1*'s give and take could be a Circle Left 3/4 for a simpler  
 dance, but
 there's already a circle left in the dance, and I'm guessing this  
 wouldn't
 be called in a situation where a give and take was problematic.

 I can't say that these are *good* dances where you pass your  
 partner mid-set
 in a hey; but they're dances. Thanks for the question that got my  
 brain
 choreographing. Hopefully others chip in (especially if I accidentally
 re-wrote someone's dance).

 -- 
 Luke Donev
 Luke.Donev(a)gmail.com

 ------------------------------

 Message: 4
 Date: Sun, 21 Aug 2011 10:50:04 -0400
 From: Richard Hart &lt;rich(a)harts.mv.com&gt;
 To: Caller's discussion list &lt;callers(a)sharedweight.net&gt;
 Subject: Re: [Callers] 50% rule
 Message-ID: &lt;4E511B1C.4050800(a)harts.mv.com&gt;
 Content-Type: text/plain; charset=ISO-8859-1; format=flowed

 There's one dance variation that I've recently noticed.

 Recently, I've noticed that callers and dancers have slightly  
 changed some existing dances. In both cases that I remember (Trip  
 to Lambertville & Tica Tica Timing) a R&L over has been changed to  
 a promenade across.  Rights and lefts do seem to be more difficult,  
 especially at bigger dances, and with a larger proportion of  
 beginners.  The promenade does appear to make the dance smoother in  
 these cases.

 Is it really true that right & lefts are becoming less popular in  
 large MUCDs? Are other dances being modified in this way now?

 Rich Hart.

 Tom Hinds remarked on 8/21/2011 9:28 AM:
  Jim

 Although I can't answer your first question about keeping track of  
 all the dances, I can say something about what constitutes a new  
 dance.  I remember Ted Sannella saying that a dance is new if it  
 has 50% new or unique choreography.  By his definition if 50% or  
 more of the dance is different than any other dance then it's a  
 new dance.  If a dance has less than 50% it's a variation.

 He didn't go into any more specifics and I wasn't wise enough to  
 ask any questions.   But if you look at some of the old dances  
 like Petronella and Hull's victory, they have identical B parts  
 and unique A parts.  The same applies to Chorus Jig and Rory O' More.

 Squares can also follow this 50% rule.  For example there are a  
 number of squares like Queen's Quadrille that have unique A parts  
 while the B part is circle left half, swing corner, promenade.

 T
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Re: [Callers] Heys where partners meet