Everything Maia said!
Also, if you find you are teaching to people who are doing well with both
roles, and want to learn when they can switch within a dance other than in
a swing, the easiest places are in Long lines if one is across from your
partner, (do like a hole-in-the wall gypsy), in Long lines, if one is next
to your partner (add a roll away) and then adding or subtracting a 1/2 turn
in an allemande or do si do w/ partner.
I would also remind dancers that all flourishes are offers and should feel
like offers, and dancers should talk about flourishes with their partner
and whether or not they would like any.
Have fun!
A
On Tue, Jul 5, 2016 at 5:06 PM, Maia McCormick via Callers <
callers(a)lists.sharedweight.net> wrote:
I find that a lot of people who have danced mostly the
gent's role, when
they start dancing the lady's role, think that when they swing, they're
supposed to go backwards or sorta sideways... I mean, hell, a lot of people
think that's how a lady swings when they first start dancing that role!
But, I emphasize that you're both walking (or buzz-stepping) *forward*,
roughly aiming at a point over your partner's shoulder. In fact, *the
footwork for a swing for both roles is exactly the same!!!* A good way to
emphasize this might be to have participants do a gender-neutral swing
(e.g. right hand on shoulder blade, left hand clasped with partner above
the heads) and then change the hand position into your classic ballroom
swing (perhaps even trying out ballroom position with person A leading,
then with person B leading) and noting how the footwork stays the same.
Ending the swing on the opposite side also takes some getting used to.
Instead of emphasizing which role ends where ("gent ends on the left... oh
god, am I the gent??"), I find it useful to talk about ending the swing
with the "pointy end" pointing in the direction you want to be facing, and
releasing from there--works for both roles, so no scrambling to remember
what role you're dancing and what side you're supposed to end up on.
You might lean towards selecting dances where tricky gendered stuff (e.g.
the courtesy turn, which many people will be learning for the first time in
their new role) happens with a neighbor. If it happens that you and your
partner are both confused about how to do a courtesy turn in your new role
and the only courtesy turns happen with your partner, you're not going to
get any help.
Lastly (and this is something that I urge allllll you folks on the
listserv to do, even if you're not calling specifically gender-neutral
dances): use gender-neutral language to describe the roles! I find this
every effective for breaking down role gender expectations, even if the
role names themselves are gendered. So rather than "gents, take that
neighbor lady and scoop her around in a courtesy turn", say, "scoop *them*
around
in a courtesy turn".
Good luck! Let us know how it goes, and what did or didn't work well!
Cheers,
Maia
On Tue, Jul 5, 2016 at 4:29 PM, Chris Page via Callers <
callers(a)lists.sharedweight.net> wrote:
One subtle thing that's different is
progression instincts -- typically
men's
role progress on the left, women's on the right. (Like with a final B2
of circle left 3/4, pass through).
The few times I've had everyone do a gender swap, I've gone with the
dance "Bicoastal Contra" by Pete Campbell.
http://lists.sharedweight.net/pipermail/callers-sharedweight.net/2008-April…
Two swings, one courtesy turn, a men's allemande, fairly simple
choreography -- and neither swing need end with the correct person on
the right.
-Chris Page
San Diego, CA
On Tue, Jul 5, 2016 at 11:32 AM, Susan Pleck via Callers
<callers(a)lists.sharedweight.net> wrote:
Hi folks,
I'm to lead a workshop/extended intro lesson at a local dance this
Saturday
on gender-free dancing/dancing the
"other" role/switching roles. Not
having
done this before, I'd appreciate any thoughts
or advice about what this
should include. For the gender-free aspect, I'm not sure there's much
to
discuss, really; ir'd be more just giving
dancers a chance to practice
responding to different terms. For dancing the other role, though, what
points of emphasis do you think would be most useful? Two that come to
mind
are swing positioning/giving weight, and figures
such as a chain where
the
actions of the two roles are different.
thank you!
Susan Pleck
Oakland, CA
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