Why not just have everyone face left and single file promenade instead of
circle to the left? The circles are still moving in the opposite direction
and right shoulders are adjacent for the Dosido.
Rich
On Sun, Feb 4, 2018 at 11:21 PM, K Panton via Callers <
callers(a)lists.sharedweight.net> wrote:
> (aside: I love this list! So very helpful)
>
> RE: The Wheel
>
> Bill Olson noted that the dance can be challenging with the ladies in the
> outside circle, due to their generally shorter arms.
>
> Given that the promenade is a long 16 beats, Has anyone tried adding a two
> hand turn after 12 beats to put the gents on the outside? I wonder if this
> is one of the things that Rick Mohr tried while attempting to reduce socket
> injuries. ??
>
>
> Date: Wed, 31 Jan 2018 21:06:54 +0000
> From: Bill Olson <callbill(a)hotmail.com>
>
>
> Yeah, That's what I was more thinking of than moderately difficult dances
> like Beneficial Tradition.. I like Gene Hubert's circle mixer "the wheel"
> :
>
>
> The Wheel, circle mixer by Gene Hubert
>
> A1 Promenade (CCW)(16)
> A2 (face partner Gents facing out, Women facing in) join 2 hands with
> partner and walk ~8 steps IN (8), join hands in concentric circles and walk
> ~8 steps back out (8)
> B1 all circle LEFT (opposite directions obviously)
> B2 *SWING* (nearest person)
>
>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
>
(aside: I love this list! So very helpful)
RE: The Wheel
Bill Olson noted that the dance can be challenging with the ladies in the
outside circle, due to their generally shorter arms.
Given that the promenade is a long 16 beats, Has anyone tried adding a two
hand turn after 12 beats to put the gents on the outside? I wonder if this
is one of the things that Rick Mohr tried while attempting to reduce socket
injuries. ??
Date: Wed, 31 Jan 2018 21:06:54 +0000
From: Bill Olson <callbill(a)hotmail.com>
Yeah, That's what I was more thinking of than moderately difficult dances
like Beneficial Tradition.. I like Gene Hubert's circle mixer "the wheel" :
The Wheel, circle mixer by Gene Hubert
A1 Promenade (CCW)(16)
A2 (face partner Gents facing out, Women facing in) join 2 hands with
partner and walk ~8 steps IN (8), join hands in concentric circles and walk
~8 steps back out (8)
B1 all circle LEFT (opposite directions obviously)
B2 *SWING* (nearest person)
I'll second "Happy as a Cold Pig..." but you have to call it to the right
crowd. You need people who won't get upset when "everything went wrong but
I still found my partner." You'll see six people stars, three people
stars, one person stars! but everyone will be smiling.
Dale
On Sat, Feb 3, 2018 at 9:45 AM, Jack Mitchell via Callers <
callers(a)lists.sharedweight.net> wrote:
> I really love “Happy as a Cold Pig in Warm Mud by Mike Borshig
>
> Not obviously silly, but much more fun if the dancers allow themselves to
> be silly
>
>
> A1 N B&S
> A2 gents Alle L 1.5
> P alle r 1.5 (end facing up / down, partners facing in opposite
> directions)
> B1 Walk forward, make a Left Hand Star (in theory with N, Shadow and one
> other person)
> LHS 1x
> P Sw
> B2 Circle L 3/4
> Ring Balance, CA Twirl
>
> This dance is best when people don't take it too seriously. Secret is not
> to worry about whether you went the right way for the star -- turn a star
> all the way around and you'll get back to your partner. Also works if you
> and partner both go the same way (and make a 5 person star). Challenge
> dancers to make stars with more people. Come down off the stage and jump
> into the stars yourself. :-)
>
> J
>
>
> On Thu, Feb 1, 2018 at 1:30 PM Robert Green via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
>> Here is a photo of The Wheel from the original Dizzy Dances
>>
>> Sent from my iPad
>>
>> On Feb 1, 2018, at 9:27 AM, Bill Olson via Callers <
>> callers(a)lists.sharedweight.net> wrote:
>>
>> Rick and Mac and all, I also tried various "fixes" like promenading
>> clockwise but like a lot of times I have tried to "fix" a dance, it gets
>> clunky and I end up going back to the original. Since the "Wheel" is the
>> most fun with a hall packed with dancers, I have settled on calling it only
>> for large crowds when the original "circle up" has the dancers pretty much
>> pushed up against the walls. Then when they get in promenade position, that
>> all loosens up but during the circle lefts the women's arms are saved.
>>
>>
>> bill
>>
>>
>> ------------------------------
>> *From:* Callers <callers-bounces(a)lists.sharedweight.net> on behalf of
>> Rick Mohr via Callers <callers(a)lists.sharedweight.net>
>> *Sent:* Thursday, February 1, 2018 1:11 PM
>> *To:* callers(a)lists.sharedweight.net
>> *Subject:* Re: [Callers] Looking for "fun" dances
>>
>> "The Wheel" has been a favorite of mine since 1994. Around here some call
>> it "Wheel of Misfortune" -- hilarious! (i.e. who will the fates deliver
>> unto you for a swing?)
>>
>> I could never find it in my Gene Hubert books -- apparently because it
>> was published in his first collection "Dizzy Dances" (
>> https://www.ibiblio.org/contradance/index/DD1.txt
>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.ibibl…>
>> ) which I don't have. I never thought that was a problem, since "Dizzy
>> Dances II" is subtitled "Featuring the best of Volume 1 plus...". But now I
>> wonder how many other great dances that Gene didn't consider "the best" are
>> hiding in that book!
>>
>> I've also long struggled with the "women's arms pulled out of their
>> sockets" problem, and tried a couple fixes that failed spectacularly.
>> Mac, your solution looks brilliant and I'm excited to try it!
>>
>> Rick
>>
>> _______________________________________________
>> List Name: Callers mailing list
>> List Address: Callers(a)lists.sharedweight.net
>> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
>> _______________________________________________
>> List Name: Callers mailing list
>> List Address: Callers(a)lists.sharedweight.net
>> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
> --
> Jack Mitchell
> Durham, NC
>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
>
--
There are only two hard things in computer science: cache invalidation,
naming things, and off-by-one errors.
Here is a photo of The Wheel from the original Dizzy Dances
Sent from my iPad
> On Feb 1, 2018, at 9:27 AM, Bill Olson via Callers <callers(a)lists.sharedweight.net> wrote:
>
> Rick and Mac and all, I also tried various "fixes" like promenading clockwise but like a lot of times I have tried to "fix" a dance, it gets clunky and I end up going back to the original. Since the "Wheel" is the most fun with a hall packed with dancers, I have settled on calling it only for large crowds when the original "circle up" has the dancers pretty much pushed up against the walls. Then when they get in promenade position, that all loosens up but during the circle lefts the women's arms are saved.
>
> bill
>
>
> From: Callers <callers-bounces(a)lists.sharedweight.net> on behalf of Rick Mohr via Callers <callers(a)lists.sharedweight.net>
> Sent: Thursday, February 1, 2018 1:11 PM
> To: callers(a)lists.sharedweight.net
> Subject: Re: [Callers] Looking for "fun" dances
>
> "The Wheel" has been a favorite of mine since 1994. Around here some call it "Wheel of Misfortune" -- hilarious! (i.e. who will the fates deliver unto you for a swing?)
>
> I could never find it in my Gene Hubert books -- apparently because it was published in his first collection "Dizzy Dances" (https://www.ibiblio.org/contradance/index/DD1.txt) which I don't have. I never thought that was a problem, since "Dizzy Dances II" is subtitled "Featuring the best of Volume 1 plus...". But now I wonder how many other great dances that Gene didn't consider "the best" are hiding in that book!
>
> I've also long struggled with the "women's arms pulled out of their sockets" problem, and tried a couple fixes that failed spectacularly. Mac, your solution looks brilliant and I'm excited to try it!
>
> Rick
>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Actually, I have rarely ever experienced Hull’s Victory done correctly and on time.
Martha
> On Feb 2, 2018, at 11:58 AM, Yoyo Zhou via Callers <callers(a)lists.sharedweight.net> wrote:
>
> On Thu, Feb 1, 2018 at 7:26 AM, Rick Mohr via Callers <callers(a)lists.sharedweight.net <mailto:callers@lists.sharedweight.net>> wrote:
> Some dances require skill to make the timing work — like starting a figure with dispatch so a later balance will be on time, or doing a figure leisurely to avoid being early for the next one. But while many dancers have the awareness to make things like that work, many dancers don’t. Since there are plenty of fantastic dances without such challenges I tend not to call dances which have them.
>
> But I’ve also found that such dances are great when I’m asked to lead a workshop helping dancers improve their skills. Longtime dancers aren't eager to change their habits, and having something concrete like making a balance on time adds motivation, ideally opening a window where learning is possible.
>
> Unfortunately though I've discarded or passed on collecting most such dances!
>
> Have any suggestions of good/great dances where the timing is tight or loose in spots?
>
> One of mine in that category is Crow Flight (http://rickmohr.net/Contra/Dances.asp#CrowFlight <http://rickmohr.net/Contra/Dances.asp#CrowFlight>). Learning opportunities include gents flowing from swing to circle (common with aware dancers but a revelation to some), ladies moving efficiently from circle to hey, and doing a hey with two steps per pass (possibly realizing the difference between a 3-change and 4-change half hey).
>
> Thanks for any ideas!
>
> Some classics I think fit in this category:
>
> The Baby Rose by David Kaynor - lots of time to circle left 3/4 and do si do before a balance.
>
> String of Swings by Rick Mohr and Bob Isaacs - ending swings on time can be challenging for some dancers; there's nothing like the dissatisfaction of waiting for somebody to let go of the person you're supposed to swing next.
>
> Joyride by Erik Weberg (with slow tempo) - especially as the author wrote it, with the last pass of the hey at the beginning of B1; many dancers aren't used to taking 8 counts for the more loosely timed figures in the A part.
>
> Judah Jig by Charlie Fenton (with fast tempo) - dancers have to get all the way around twice in B1 (circling left and right hand star) to make the ladies chain go across the set.
>
> Yoyo Zhou
>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
On Thu, Feb 1, 2018 at 7:26 AM, Rick Mohr via Callers <
callers(a)lists.sharedweight.net> wrote:
> Some dances require skill to make the timing work — like starting a figure
> with dispatch so a later balance will be on time, or doing a figure
> leisurely to avoid being early for the next one. But while many dancers
> have the awareness to make things like that work, many dancers don’t. Since
> there are plenty of fantastic dances without such challenges I tend not to
> call dances which have them.
>
> But I’ve also found that such dances are great when I’m asked to lead a
> workshop helping dancers improve their skills. Longtime dancers aren't
> eager to change their habits, and having something concrete like making a
> balance on time adds motivation, ideally opening a window where learning is
> possible.
>
> Unfortunately though I've discarded or passed on collecting most such
> dances!
>
> Have any suggestions of good/great dances where the timing is tight or
> loose in spots?
>
> One of mine in that category is Crow Flight (http://rickmohr.net/Contra/Da
> nces.asp#CrowFlight). Learning opportunities include gents flowing from
> swing to circle (common with aware dancers but a revelation to some),
> ladies moving efficiently from circle to hey, and doing a hey with two
> steps per pass (possibly realizing the difference between a 3-change and
> 4-change half hey).
>
> Thanks for any ideas!
>
Some classics I think fit in this category:
The Baby Rose by David Kaynor - lots of time to circle left 3/4 and do si
do before a balance.
String of Swings by Rick Mohr and Bob Isaacs - ending swings on time can be
challenging for some dancers; there's nothing like the dissatisfaction of
waiting for somebody to let go of the person you're supposed to swing next.
Joyride by Erik Weberg (with slow tempo) - especially as the author wrote
it, with the last pass of the hey at the beginning of B1; many dancers
aren't used to taking 8 counts for the more loosely timed figures in the A
part.
Judah Jig by Charlie Fenton (with fast tempo) - dancers have to get all the
way around twice in B1 (circling left and right hand star) to make the
ladies chain go across the set.
Yoyo Zhou
Great timing , Rick.
I was just working on polishing the teach of Dale Wilson's *Gold Star
Wednesday (http://www.childgrove.org/mo-dances/dale-wilson
<http://www.childgrove.org/mo-dances/dale-wilson>). *When the timing is
right this is a spectacular dance. It has three little challenges: turning
a star exactly the right amount, executing a swat-the-flee smoothly to
invert the star, and the gets looping back and the ladies following with
just the right amount so that the timing is just right for the partner
swing.
Love your workshops , Rick.
Bob Green
On Thu, Feb 1, 2018 at 9:26 AM, Rick Mohr via Callers <
callers(a)lists.sharedweight.net> wrote:
> Some dances require skill to make the timing work — like starting a figure
> with dispatch so a later balance will be on time, or doing a figure
> leisurely to avoid being early for the next one. But while many dancers
> have the awareness to make things like that work, many dancers don’t. Since
> there are plenty of fantastic dances without such challenges I tend not to
> call dances which have them.
>
> But I’ve also found that such dances are great when I’m asked to lead a
> workshop helping dancers improve their skills. Longtime dancers aren't
> eager to change their habits, and having something concrete like making a
> balance on time adds motivation, ideally opening a window where learning is
> possible.
>
> Unfortunately though I've discarded or passed on collecting most such
> dances!
>
> Have any suggestions of good/great dances where the timing is tight or
> loose in spots?
>
> One of mine in that category is Crow Flight (http://rickmohr.net/Contra/Da
> nces.asp#CrowFlight). Learning opportunities include gents flowing from
> swing to circle (common with aware dancers but a revelation to some),
> ladies moving efficiently from circle to hey, and doing a hey with two
> steps per pass (possibly realizing the difference between a 3-change and
> 4-change half hey).
>
> Thanks for any ideas!
>
> Rick
>
>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
>
believe it or not, I like to use Lady of the Lake (or Haymakers Jig) to point out the tight timing thing.
A1 B&S Neighbor
A2 actives B&S
trying to get the 1's to hit that balance on time in A2 takes a little talking ahead of time.. and I often say "this dance isn't as easy as it looks"..
That said, Rick, you probably don't need to "recollect" this one. hee hee..
bill
________________________________
From: Callers <callers-bounces(a)lists.sharedweight.net> on behalf of Rick Mohr via Callers <callers(a)lists.sharedweight.net>
Sent: Thursday, February 1, 2018 3:26 PM
To: Callers(a)sharedweight.net
Subject: [Callers] Good dances with challenging timing
Some dances require skill to make the timing work — like starting a figure with dispatch so a later balance will be on time, or doing a figure leisurely to avoid being early for the next one. But while many dancers have the awareness to make things like that work, many dancers don’t. Since there are plenty of fantastic dances without such challenges I tend not to call dances which have them.
But I’ve also found that such dances are great when I’m asked to lead a workshop helping dancers improve their skills. Longtime dancers aren't eager to change their habits, and having something concrete like making a balance on time adds motivation, ideally opening a window where learning is possible.
Unfortunately though I've discarded or passed on collecting most such dances!
Have any suggestions of good/great dances where the timing is tight or loose in spots?
One of mine in that category is Crow Flight (http://rickmohr.net/Contra/Dances.asp#CrowFlight<https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Frickmohr.n…>). Learning opportunities include gents flowing from swing to circle (common with aware dancers but a revelation to some), ladies moving efficiently from circle to hey, and doing a hey with two steps per pass (possibly realizing the difference between a 3-change and 4-change half hey).
Thanks for any ideas!
Rick
Rick and Mac and all, I also tried various "fixes" like promenading clockwise but like a lot of times I have tried to "fix" a dance, it gets clunky and I end up going back to the original. Since the "Wheel" is the most fun with a hall packed with dancers, I have settled on calling it only for large crowds when the original "circle up" has the dancers pretty much pushed up against the walls. Then when they get in promenade position, that all loosens up but during the circle lefts the women's arms are saved.
bill
________________________________
From: Callers <callers-bounces(a)lists.sharedweight.net> on behalf of Rick Mohr via Callers <callers(a)lists.sharedweight.net>
Sent: Thursday, February 1, 2018 1:11 PM
To: callers(a)lists.sharedweight.net
Subject: Re: [Callers] Looking for "fun" dances
"The Wheel" has been a favorite of mine since 1994. Around here some call it "Wheel of Misfortune" -- hilarious! (i.e. who will the fates deliver unto you for a swing?)
I could never find it in my Gene Hubert books -- apparently because it was published in his first collection "Dizzy Dances" (https://www.ibiblio.org/contradance/index/DD1.txt<https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.ibibl…>) which I don't have. I never thought that was a problem, since "Dizzy Dances II" is subtitled "Featuring the best of Volume 1 plus...". But now I wonder how many other great dances that Gene didn't consider "the best" are hiding in that book!
I've also long struggled with the "women's arms pulled out of their sockets" problem, and tried a couple fixes that failed spectacularly. Mac, your solution looks brilliant and I'm excited to try it!
Rick
Some dances require skill to make the timing work — like starting a figure
with dispatch so a later balance will be on time, or doing a figure
leisurely to avoid being early for the next one. But while many dancers
have the awareness to make things like that work, many dancers don’t. Since
there are plenty of fantastic dances without such challenges I tend not to
call dances which have them.
But I’ve also found that such dances are great when I’m asked to lead a
workshop helping dancers improve their skills. Longtime dancers aren't
eager to change their habits, and having something concrete like making a
balance on time adds motivation, ideally opening a window where learning is
possible.
Unfortunately though I've discarded or passed on collecting most such
dances!
Have any suggestions of good/great dances where the timing is tight or
loose in spots?
One of mine in that category is Crow Flight (http://rickmohr.net/Contra/
Dances.asp#CrowFlight). Learning opportunities include gents flowing from
swing to circle (common with aware dancers but a revelation to some),
ladies moving efficiently from circle to hey, and doing a hey with two
steps per pass (possibly realizing the difference between a 3-change and
4-change half hey).
Thanks for any ideas!
Rick
