Warning: rabbit hole ahead.
Colin: I read your text for your workshop. All useful stuff and you do say
more than "treat your partner as a neighbour".
Re Michael Fuerst's quote, I agree that end-effects are what they are and
they are not (necessarily?) the point of the dance, but they sometimes must
be dealt with head-on. Example: I have tried to make any sense of the end
effects in the dance The Hobbit
http://www.quiteapair.us/calling/acdol/dance/acd_283.html . I think it's a
great dance - if you can avoid the ends - but I'll be [darned] if I can
make it around the end successfully. I've tried calling it, walking thru at
a callers workshop with several experienced dancers and none of us could
make sense of the end-effects. We were missing some magical key to
understanding (perhaps guarded by Smaug). "Go where you are needed" wasn't
going to work. Nor were the other rules. Sometimes, it seems, the
end-effects must be taught just as the dance. No easy feat.
Colin Hume via Callers
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Thu, 05 Apr 2018 02:42:50 -0700
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I'm not sure that dancing with ghosts is the best way to deal with end-effects
- I prefer "treat your partner as a neighbour".
I have a whole section of notes on End-effects at
https://colinhume.com/dtendeffects.htm
Colin Hume
On Thu, 05 Apr 2018 23:08:43 +0000, Jack Mitchell wrote:
> That works a lot of the time, but it really doesn't work in dances like Ken is talking about. Dance like song in
> the night (gene Hubert), or for other dances where you go out and then in and then out, not necessarily with your
> partner.
"Song in the night" was the second dance I called in my End-effects workshop, and you're right that "Treat your partner as a
neighbour" doesn't work here. I do mention "dancing with ghosts" a few lines later, and generalise the rule to "Keep doing as
much of the dance as you can", and I agree that here you need to do a star three-quarters with ghosts.
On Thu, 5 Apr 2018 23:34:02 -0400, K Panton via Callers wrote:
> "Happy as a Cold Pig in Warm Mud" would be another where a star with ghosts would be on offer.
Here I think it's easier to do a left-hand turn with your shadow.
The really important thing is to get dancers _thinking_ about end-effects, rather than just reaching the end of the set and
switching their brains off!
Colin Hume
Wow - that is impressive!
Thanks
On Thursday, April 5, 2018, 10:16:24 PM CDT, Chris Page <chriscpage(a)gmail.com> wrote:
Searching
https://squaredancehistory.org/items/search/
for "allemande alphabet"
gives the appropriate links.
-Chris Page
San Diego
On Thu, Apr 5, 2018 at 8:08 PM, Mac Mckeever via Callers
<callers(a)lists.sharedweight.net> wrote:
> I am trying to collect the series of square breaks based on various letters
> of the alphabet - I believe there are a bunch oft them.
>
> I can only remember allemand X and allemand R
>
> Who has others?
>
> Mac Mckeever
>
>
>
> _______________________________________________
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>
I am trying to collect the series of square breaks based on various letters of the alphabet - I believe there are a bunch oft them.
I can only remember allemand X and allemand R
Who has others?
Mac Mckeever
Right you are, Jack, though I want to read Colin's post in detail; I've had
a skim and he's put in much thought.
In the dance that I'm hoping to call (Mad Slice) the travelling is actually
done not with partner but with a neighbour with whom is visited Shadow 1
and shadow 2. At various points before finally getting clear of the end,
neigbbour is at least shadow 1 and probably shadow 2 but I need to make my
head hurt some more to get a full understanding. So far, though, it looks
as though dancing with ghosts should make it simpler and, in spite of there
being two shadows, it is quite straight forward to work around the ends and
get back successfully to one's partner.
Song in the Night is too complex for my crowd at my skill level as caller,
though I can see it being a useful ghost dance, as you suggest.
Ken
Jack Mitchell via Callers
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Thu, 05 Apr 2018 16:09:06 -0700
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That works a lot of the time, but it really doesn’t work in dances like Ken
is talking about. Dance like song in the night (gene Hubert), or for other
dances where you go out and then in and then out, not necessarily with your
partner.
On Thu, Apr 5, 2018 at 5:42 AM Colin Hume via Callers
<callers(a)lists.sharedweight.net> wrote:
> I'm not sure that dancing with ghosts is the best way to deal with
> end-effects - I prefer "treat your partner as a neighbour".
>
> I have a whole section of notes on End-effects at
> https://colinhume.com/dtendeffects.htm
>
> Colin Hume
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> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
--
Jack Mitchell
Durham, NC
I'm not sure that dancing with ghosts is the best way to deal with end-effects - I prefer "treat your partner as a neighbour".
I have a whole section of notes on End-effects at https://colinhume.com/dtendeffects.htm
Colin Hume
