27 Jun
2013
27 Jun
'13
4:27 p.m.
So...I've been thinking about trying to put together a workshop for
experienced dancerd that would consist of dances that have end effects,
but giving the dancers some rules of thumb to go on for different types
of end effects. Would be glad of some help brainstorming different
general categories of end effects (grouped by "coping mechanism").
Here's what I can come up with off the top of my head (Corrections,
additions and clarifications welcome)
Type: Dances where you pull by along the set or do things with one
neighbor after another
Rule: At the ends, when you don't have a neighbor, treat your partner
like your neighbor
Rule: If you have to pass by shadows to get back to your partner, go the
long way at the ends -- don't try to cut the corner
Type: Things on the diagonal
Rule: If there's no one there, stay put and *keep dancing -- you're not
out yet*
Type: Shadow is also neighbor
Rule: Know that Shadow will fill both roles
Type: spit out temporarily (with partner, neighbor or shadow) and then
come back in
Rule: Dance with ghosts
27 Jun
27 Jun
4:57 p.m.
Brief thoughts:
On the diagonal, it's also worth noting that if you're out, you have to be
attentive and know where you come in.
Spit out temporarily - Wizard's Walk is the only move I can think of where
I find Ghosts vs. treating the dance as a circle or just waiting out for a
few counts to be useful. That's not to say that ghosts aren't useful, just
that I don't find them so.
Beneficial Tradition is a dance with interesting end-effects. It follows
the "If there's nobody there, stay put" rule, but in a way that's not
immediately obvious. Typically that rule applies to couples, but in this
instance it applies to individuals. It's a double progression, so when you
progress around the end, it goes something like:
"pull-by left" - everyone with neighbor
"pull-by right" - man has nobody to pull-by with (stay put)
"pull-by left" - partner lady & man pull by each other
"pull-by right" - lady has nobody to pull-by with (stay put)
On Thu, Jun 27, 2013 at 4:27 PM, Jack Mitchell <jamitch3(a)mindspring.com>wrote;wrote:
So...I've been thinking about trying to put
together a workshop for
experienced dancerd that would consist of dances that have end effects, but
giving the dancers some rules of thumb to go on for different types of end
effects. Would be glad of some help brainstorming different general
categories of end effects (grouped by "coping mechanism"). Here's what I
can come up with off the top of my head (Corrections, additions and
clarifications welcome)
Type: Dances where you pull by along the set or do things with one
neighbor after another
Rule: At the ends, when you don't have a neighbor, treat your partner like
your neighbor
Rule: If you have to pass by shadows to get back to your partner, go the
long way at the ends -- don't try to cut the corner
Type: Things on the diagonal
Rule: If there's no one there, stay put and *keep dancing -- you're not
out yet*
Type: Shadow is also neighbor
Rule: Know that Shadow will fill both roles
Type: spit out temporarily (with partner, neighbor or shadow) and then
come back in
Rule: Dance with ghosts
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5:34 p.m.
Type: Big oval promenades (Eg, Fairport Harbor)
Rule: Participate in promenade
Type: Slide left or slide right progression (eg, cw or ccw progression
Beckets)
Rule: Once no longer needed for figure, slide around the end of the set
without crossing over
-- Aan
On 6/27/2013 1:27 PM, Jack Mitchell wrote:
So...I've been thinking about trying to put
together a workshop for
experienced dancerd that would consist of dances that have end effects,
but giving the dancers some rules of thumb to go on for different types
of end effects. Would be glad of some help brainstorming different
general categories of end effects (grouped by "coping mechanism").
Here's what I can come up with off the top of my head (Corrections,
additions and clarifications welcome)
Type: Dances where you pull by along the set or do things with one
neighbor after another
Rule: At the ends, when you don't have a neighbor, treat your partner
like your neighbor
Rule: If you have to pass by shadows to get back to your partner, go the
long way at the ends -- don't try to cut the corner
Type: Things on the diagonal
Rule: If there's no one there, stay put and *keep dancing -- you're not
out yet*
Type: Shadow is also neighbor
Rule: Know that Shadow will fill both roles
Type: spit out temporarily (with partner, neighbor or shadow) and then
come back in
Rule: Dance with ghosts
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
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9:02 p.m.
Sounds like fun.
Sent from my iPad
On Jun 27, 2013, at 3:27 PM, "Jack Mitchell" <jamitch3(a)mindspring.com>
wrote:
So...I've been thinking about trying to put
together a workshop for
experienced dancerd that would consist of dances that have end effects,
but giving the dancers some rules of thumb to go on for different types
of end effects. Would be glad of some help brainstorming different
general categories of end effects (grouped by "coping mechanism").
Here's what I can come up with off the top of my head (Corrections,
additions and clarifications welcome)
Type: Dances where you pull by along the set or do things with one
neighbor after another
Rule: At the ends, when you don't have a neighbor, treat your partner
like your neighbor
Rule: If you have to pass by shadows to get back to your partner, go the
long way at the ends -- don't try to cut the corner
Type: Things on the diagonal
Rule: If there's no one there, stay put and *keep dancing -- you're not
out yet*
Type: Shadow is also neighbor
Rule: Know that Shadow will fill both roles
Type: spit out temporarily (with partner, neighbor or shadow) and then
come back in
Rule: Dance with ghosts
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
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9:36 p.m.
Some other end effects:
Switching roles in unequal dances, like Brimmer & May Reel.
---------
There's also the more subtle effect, like that once you swap roles,
every swing is on the other side, every swing ends facing the other
way, and every progression is 180 degrees the other way.
This gets people, and it can be helpful for experienced dancers to recognize it.
(Example: 3/4 hey then swing partner can turn into 1/4 hey then swing
partner by accident.)
--------
Also, there's some dances where you have to re-enter indecent, with
the woman on the left, man on the right. If the dancers waiting out
force the people to adapt to them, those same exact dancers will get
spit out again, over and over, until an assertive dancer overrules
them.
(My rule for this: "Do what the dancers in the dance need of you.
Adapt to them -- they're more in the zone.")
--------
"Scooter" by Tom Hinds has an unusual case where the men have to
double-progress around the end during a single ladies chain.
--------
Some of the unequal dances have rings of one or three, depending. See
"Fiddleheads" for a good example.
--------
Finally, there's a few dances (like "Falling in Love Again") where
there's a ladies chain on the left diagonal followed by a chain on the
right diagonal. The only way I've found for neutral couples to survive
is to wait out improper, so they can be on the sort-of-half-diagonal
chain in both directions.
-Chris Page
San Diego
29 Jun
29 Jun
12:42 a.m.
Actually this strikes me a bad idea for a workshop.
Dances with challenging end effects have such because of the interesting stuff within the
dances.
Dancers will not be enlightened by the end effects.
So just do a workshop of advanced dances.
Dancers just will remember at most one or two instruction for end effects, and it should
be the most important instruction . For example:
a) Dance around at the ends, or
b) When out at the end, face back in with man on right, woman on left (which I do
not think has been suggested yet). or
c) You'll will pop in and out at the end several times
If the dancers in front of the caller aren't skilled enough to handle the end effects
with one or two brief items of advice, s/he should consider calling a different dance
Some ideas for workshops
a) Proper dances. There are small number of interesting proper dances where bout
couples are equally active. Tom Hinds probably has written the most of these.
Al Olson has a dance Contra Corners Special. Mark Richardson,
David Kirchner and I have written one.
Roger Diggle has several elegant, but uneven proper dance
b) Quirky dances. Dances with seemingly bizarre choreography, but which are fun.
Kirston Koths wrote quite a few of these in the 1980's
Mike Boerschig has one called the The Fishin' Reel
Claudio Buchwald has one, I think it's in Zesty Contras
c) Quirky Formations (e.g. 1's crossed, backwards progressions, 1's start below
2's)
Michael Fuerst 802 N Broadway Urbana IL 61801 217-239-5844
Links to photos of many of my drawings and paintings are at www.ArtComesFuerst.com
________________________________
From: Jack Mitchell <jamitch3(a)mindspring.com>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Thursday, June 27, 2013 3:27 PM
Subject: [Callers] End Effect Rules / Patterns
So...I've been thinking about trying to put together a workshop for
experienced dancerd that would consist of dances that have end effects,
but giving the dancers some rules of thumb to go on for different types
of end effects. Would be glad of some help brainstorming different
general categories of end effects (grouped by "coping mechanism").
Here's what I can come up with off the top of my head (Corrections,
additions and clarifications welcome)
Type: Dances where you pull by along the set or do things with one
neighbor after another
Rule: At the ends, when you don't have a neighbor, treat your partner
like your neighbor
Rule: If you have to pass by shadows to get back to your partner, go the
long way at the ends -- don't try to cut the corner
Type: Things on the diagonal
Rule: If there's no one there, stay put and *keep dancing -- you're not
out yet*
Type: Shadow is also neighbor
Rule: Know that Shadow will fill both roles
Type: spit out temporarily (with partner, neighbor or shadow) and then
come back in
Rule: Dance with ghosts
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
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days old
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5 comments
6 participants
participants (6)
-
Alan Winston -
Chris Page -
Dorcas Hand -
Jack Mitchell -
Michael Fuerst -
Ryan Smith