A friend told me about Brooke Friendly's style of calling ECD and that was
part of the inspiration for this contra program.
Jim
On Mon, Jun 1, 2015 at 9:24 AM, Roger Hayes <roger.hayes(a)gmail.com> wrote:
> Check out Brooke Friendly and Chris Sackett's English Country dances -
> they use "geographic" terms, and structure the dances without gender roles.
> It's different, but the dance does keep changing, it's a live art.
>
> http://www.brookefriendlydance.com/
>
> Aside from Mr. Hemphill's effort recently here described, I know of no
> comparable endeavor in contra dance choreography - I suppose we're more
> traditional than ECD. Does anyone have info to share?
>
> Roger Hayes
> Jim - I don't think I am alone in wondering how you managed this without
> telling the dancers. I take that to mean you didn't make it gender free by
> the terminology you used (jets or whatever) but by the kinds of dances you
> chose. I'd love to read more details about what this entailed.
>
> Please share more!
>
> Amy
> 206 330 7408
> Amy(a)calleramy.com
>
> On Jun 1, 2015, at 5:37 AM, Jim Hemphill via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
> The recent discussions on this topic inspired me to try an experiment in
> gender free calling. Last night I called the contra dance in St. Louis
> using gender free calling without telling anyone. The experiment was a
> great success. I received lots of positive feedback on the evenings
> dance. At the break and after the dance I made a point to ask several
> dancers, some were callers as well, if they noticed anything different or
> unusual about the dances or how I taught them. One person noticed that
> there were more dances that included a swing in the center for couple 2
> than usual. No one I talked to noticed that the calls and teaching were
> gender free.
>
> It took some extra time to construct a fun, diverse 3 hour program, but it
> is certainly possible. Re-labeling the dancers is not the only way to call
> gender free.
>
> If you are interested in the program I used or the larger collection of
> gender free dances I chose the program from, send me an email,
> arcadian35(a)gmail.com.
>
> Thanks,
> Jim Hemphill
>
>
>
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>
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>
>
Jim - I don't think I am alone in wondering how you managed this without telling the dancers. I take that to mean you didn't make it gender free by the terminology you used (jets or whatever) but by the kinds of dances you chose. I'd love to read more details about what this entailed.
Please share more!
Amy
206 330 7408
Amy(a)calleramy.com
> On Jun 1, 2015, at 5:37 AM, Jim Hemphill via Callers <callers(a)lists.sharedweight.net> wrote:
>
> The recent discussions on this topic inspired me to try an experiment in gender free calling. Last night I called the contra dance in St. Louis using gender free calling without telling anyone. The experiment was a great success. I received lots of positive feedback on the evenings dance. At the break and after the dance I made a point to ask several dancers, some were callers as well, if they noticed anything different or unusual about the dances or how I taught them. One person noticed that there were more dances that included a swing in the center for couple 2 than usual. No one I talked to noticed that the calls and teaching were gender free.
>
> It took some extra time to construct a fun, diverse 3 hour program, but it is certainly possible. Re-labeling the dancers is not the only way to call gender free.
>
> If you are interested in the program I used or the larger collection of gender free dances I chose the program from, send me an email, arcadian35(a)gmail.com.
>
> Thanks,
> Jim Hemphill
>
>
> _______________________________________________
> Callers mailing list
> Callers(a)lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
The recent discussions on this topic inspired me to try an experiment in
gender free calling. Last night I called the contra dance in St. Louis
using gender free calling without telling anyone. The experiment was a
great success. I received lots of positive feedback on the evenings
dance. At the break and after the dance I made a point to ask several
dancers, some were callers as well, if they noticed anything different or
unusual about the dances or how I taught them. One person noticed that
there were more dances that included a swing in the center for couple 2
than usual. No one I talked to noticed that the calls and teaching were
gender free.
It took some extra time to construct a fun, diverse 3 hour program, but it
is certainly possible. Re-labeling the dancers is not the only way to call
gender free.
If you are interested in the program I used or the larger collection of
gender free dances I chose the program from, send me an email,
arcadian35(a)gmail.com.
Thanks,
Jim Hemphill
I do wonder whether this horse has been beaten to death. I doubt that there will be agreement, and that's fine. The topic has been on the list several times, and yes, I know I can ignore the postings, but enough seems to be more than enough.
From: Ron Blechner <contraron(a)gmail.com>
To: Amy Wimmer <amywimmer(a)gmail.com>
Cc: susanelberger <susanma1950(a)yahoo.com>; callers <callers(a)lists.sharedweight.net>
Sent: Friday, May 29, 2015 3:10 PM
Subject: Re: [Callers] Jets / rubies genderfree terms redux: gems?
Care to branch off non-jet/ruby terms to a new email please?On May 29, 2015 2:45 PM, "Amy Wimmer via Callers" <callers(a)lists.sharedweight.net> wrote:
I kinda like suns and moons better than lots of the other alternatives, for the same reasons Susan lists. Also, there's Sun Dance and Moon Dance, by Robert Cromartie: gents swing in Sun Dance and ladies swing in Moon Dance. A precedence, perhaps?
-Amy
On May 29, 2015, at 8:00 AM, susanelberger via Callers <callers(a)lists.sharedweight.net> wrote:
I have used suns and moons for years, and prefer them because they have one syllable each, sound completely different from each other, and are easy for the dancers to remember. I have never had any issue arise about gender bias from them. The conversation about which gems to use does seem a bit too overthought to me.
Susan ElbergerLowell, Massachusetts
From: Delia Clark via Callers <callers(a)lists.sharedweight.net>
To: "<callers(a)lists.sharedweight.net>" <callers(a)lists.sharedweight.net>
Sent: Friday, May 29, 2015 6:52 AM
Subject: Re: [Callers] Jets / rubies genderfree terms redux: gems?
Okay, this conversation, plus the lunch table at the Puttin’ On the Dance Conference in Ottawa are FINALLY getting me to give up clinging to moons and stars (the only non-gender term I’ve ever used, which I have liked with families and have found works well, but which I understand is too gender-y to be acceptable as the solution we’re looking for - dang!). I am herewith committing to trying out Jets and Rubies next weekend at a dance I’m calling for a wedding of two women. Will report back.
On May 29, 2015, at 1:56 AM, P. Campbell via Callers <callers(a)lists.sharedweight.net> wrote:
I like jets & rubies (and have used the terms) for a number of reasons. (Don't like gems for same reason about confusion).
In a weird way, it's close enough to "lefts & rights" for me to have no trouble remembering who's who (with rubies starting with "r"), and, (apologies to those who might be offended), because it fits the same syllables for me as "gents & ladies" (which I use for historical dance) or "men & women".
For some reason I just can't get a feel for larks & ravens (I have an idea of why but not worth sharing), and I'm not at all comfortable using bands & bares.
For me, it's whatever will be the easiest for me to remember which side is which, and if my brain is wired to think of "jets" (black color) as more masculine and "rubies" (red color) as more feminine (so easier for me to link them to left & right), that's my mental visual process. (I tried apples & oranges once with a group of kids - it was terrible because I couldn't remember which was which side - I have to have some frame of reference).
I think one of the reasons I have trouble with larks & ravens is because of having learned a foreign language that has a gender for nouns, and I want to make larks the right side and ravens the left, but then the syllable structure doesn't work for me.
My 2 cents.
Patricia
Sent from my iPhone
On May 28, 2015, at 3:51 PM, Alan Winston via Callers <callers(a)lists.sharedweight.net> wrote:
On 5/28/15 12:30 PM, Ron Blechner via Callers wrote:
For those interested in gender free contra dance terms:1. Do you like or dislike jets / rubies ?
Like. (I'm responding on personal preference alone; I'm aware of some objections to this, which I don't personally share.)
2. How would gems / rubies compare?
Less good, because the soft "ms" would make the call less clear. Also, rubies _are_ gems, so this is confusing.
-- Alan
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Delia ClarkPO Box 45Taftsville, VT 05073802-457-2075deliaclark8(a)gmail.com
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Thank you, Jacob. I think you have identified the real issue. We don't need for everyone to do the same thing as long as our audiences understand what we are saying.
Susan Elberger
From: Jacob Nancy Bloom via Callers <callers(a)lists.sharedweight.net>
To: Delia Clark <deliaclark8(a)gmail.com>
Cc: callers <callers(a)lists.sharedweight.net>
Sent: Saturday, May 30, 2015 7:10 PM
Subject: [Callers] The Benefits of Difference (was: Jets / rubies genderfree terms redux: gems?)
On Sat, May 30, 2015 at 2:57 PM, Delia Clark via Callers <callers(a)lists.sharedweight.net> wrote:
...
It will ultimately be a good thing if there is a generally accepted set of words (certainly not a strict requirement, but something that’s generally accepted across the country, if possible) that meet the range of criteria, along the lines of those suggested by Ron in his matrix.
There is an assumption behind this statement which is often made, but which I find very disturbing.
The assumption is that it is an unalloyed good thing for there to be standardization. This is the kind of thinking that led the Modern Western Square Dance movement to standardize all of their calls, and all of their teaching programs. They wanted any square dancer to be able to go to any square dance club in the country, or in the world, and immediately know exactly what was meant by everything that was said. There are some advantages to that kind of standardization, especially if you happen to be a globe-hopping square dancer who enjoys dancing hot hash, but it comes at a tremendous cost.
It comes with a loss of the opportunity to experience, adapt to, and appreciate regional differences. I don't care about being able to go to a new place just to find that things there are done in the same way that I'm used to them being done back home. I care about being able to go to new places and learning the way things are done there.
What this means for the current discussion, from my point of view, is that it's a good thing if dance callers and producers discuss the advantages and disadvantages of using different terminology, and consider what language will work best for their dance. It would be a BAD thing if anyone switched terminology JUST BECAUSE that's what other people were doing.
It may well be that a certain set of terms will become generally accepted because it works better for the dancers in a lot of places. It may well be that dances which were written to be gender-neutral will be generally accepted because they work better for the dancers in a lot of places. In the meantime, if you find yourself assuming that it would a good thing if there was standardization across the country, please give some thought to what advantage you are trying to achieve, and what the disadvantages would be.
Jacob Bloom
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On Sat, May 30, 2015, Jacob Nancy Bloom via Callers wrote:
> On Sat, May 30, 2015 at 2:57 PM, Delia Clark via Callers <
> callers(a)lists.sharedweight.net> wrote:
>>
>> It will ultimately be a good thing if there is a generally accepted set
>> of words (certainly not a strict requirement, but something that???s
>> generally accepted across the country, if possible) that meet the range of
>> criteria, along the lines of those suggested by Ron in his matrix.
>
> There is an assumption behind this statement which is often made, but
> which I find very disturbing.
>
> The assumption is that it is an unalloyed good thing for there to be
> standardization.
Sounds more like you're making an assumption from my POV. "...ultimately
a good thing" may well be considering the net benefit rather than
believing there are only positive features.
> This is the kind of thinking that led the Modern Western Square Dance
> movement to standardize all of their calls, and all of their teaching
> programs. They wanted any square dancer to be able to go to any
> square dance club in the country, or in the world, and immediately
> know exactly what was meant by everything that was said. There are
> some advantages to that kind of standardization, especially if you
> happen to be a globe-hopping square dancer who enjoys dancing hot
> hash, but it comes at a tremendous cost.
>
> It comes with a loss of the opportunity to experience, adapt to, and
> appreciate regional differences. I don't care about being able to go
> to a new place just to find that things there are done in the same way
> that I'm used to them being done back home. I care about being able
> to go to new places and learning the way things are done there.
It's not clear what you mean by "hot hash". The most common definition
within the MWSD community these days refers to very fast-paced calling,
and if that's the definition you're using, I completely disagree with
your point. (Speaking as someone who's been doing MWSD for more than a
quarter-century and is currently approaching my second anniversary as a
square dance caller.)
"Mainstream" is the smallest program that's used by a significant
fraction of the MWSD community, and it generally takes about a year to
become proficient at it, to the point that ear, brain, and muscle all
work together at nearly instinct level. There's simply no way to switch
between groups within a single city without some level of
standardization, and once you've committed to the standardizing process,
there's a lot of benefit to scaling the standardization as large as
possible.
Side note: the standardization overall benefits callers more than
dancers, which I hadn't appreciated until I became a caller. I believe
the gay square dance community has stuck with gendered terms for similar
reasons.
If you dislike the way that MWSD expects dancers to execute figures
completely ad hoc, you probably should try a different kind of square
dancing -- but don't tell us how we should be doing things.
I've recently learned about Rueda, I haven't been able to find out how
much standardization there is within the Rueda community, but because
Rueda is couple-based rather than four-couple-based, it probably has more
opportunity for regional variation.
https://en.wikipedia.org/wiki/Rueda_de_Casino
> It may well be that a certain set of terms will become generally accepted
> because it works better for the dancers in a lot of places. It may well be
> that dances which were written to be gender-neutral will be generally
> accepted because they work better for the dancers in a lot of places. In
> the meantime, if you find yourself assuming that it would a good thing if
> there was standardization across the country, please give some thought to
> what advantage you are trying to achieve, and what the disadvantages would
> be.
That's a sentiment I can agree with.
--
Hugs and backrubs -- I break Rule 6 http://rule6.info/
<*> <*> <*>
Help a hearing-impaired person: http://rule6.info/hearing.html
On Sat, May 30, 2015 at 2:57 PM, Delia Clark via Callers <
callers(a)lists.sharedweight.net> wrote:
> ...
>
> It will ultimately be a good thing if there is a generally accepted set
> of words (certainly not a strict requirement, but something that’s
> generally accepted across the country, if possible) that meet the range of
> criteria, along the lines of those suggested by Ron in his matrix.
>
There is an assumption behind this statement which is often made, but
which I find very disturbing.
The assumption is that it is an unalloyed good thing for there to be
standardization. This is the kind of thinking that led the Modern Western
Square Dance movement to standardize all of their calls, and all of their
teaching programs. They wanted any square dancer to be able to go to any
square dance club in the country, or in the world, and immediately know
exactly what was meant by everything that was said. There are some
advantages to that kind of standardization, especially if you happen to be
a globe-hopping square dancer who enjoys dancing hot hash, but it comes at
a tremendous cost.
It comes with a loss of the opportunity to experience, adapt to, and
appreciate regional differences. I don't care about being able to go to a
new place just to find that things there are done in the same way that I'm
used to them being done back home. I care about being able to go to new
places and learning the way things are done there.
What this means for the current discussion, from my point of view, is that
it's a good thing if dance callers and producers discuss the advantages and
disadvantages of using different terminology, and consider what language
will work best for their dance. It would be a BAD thing if anyone switched
terminology JUST BECAUSE that's what other people were doing.
It may well be that a certain set of terms will become generally accepted
because it works better for the dancers in a lot of places. It may well be
that dances which were written to be gender-neutral will be generally
accepted because they work better for the dancers in a lot of places. In
the meantime, if you find yourself assuming that it would a good thing if
there was standardization across the country, please give some thought to
what advantage you are trying to achieve, and what the disadvantages would
be.
Jacob Bloom
If a our group of like minded people can't agree on terms to use when teaching relatively straightforward dances, can we expect a nation to agree on such trivial issues like use of force by police, national health insurance, income distribution, and money's influence in elections ?? Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844
On Saturday, May 30, 2015 2:16 PM, Lewis Land via Callers <callers(a)lists.sharedweight.net> wrote:
I agree with that most recent posting. There seem to be many sincere and earnest people out there who want to find the perfect solution for gender-free calling terms, but I doubt there will ever be consensus on this topic, and really, enough is enough. -Lewis Land
On Sat, May 30, 2015 at 12:00 PM, susanelberger via Callers <callers(a)lists.sharedweight.net> wrote:
I do wonder whether this horse has been beaten to death. I doubt that there will be agreement, and that's fine. The topic has been on the list several times, and yes, I know I can ignore the postings, but enough seems to be more than enough.
From: Ron Blechner <contraron(a)gmail.com>
To: Amy Wimmer <amywimmer(a)gmail.com>
Cc: susanelberger <susanma1950(a)yahoo.com>; callers <callers(a)lists.sharedweight.net>
Sent: Friday, May 29, 2015 3:10 PM
Subject: Re: [Callers] Jets / rubies genderfree terms redux: gems?
Care to branch off non-jet/ruby terms to a new email please?On May 29, 2015 2:45 PM, "Amy Wimmer via Callers" <callers(a)lists.sharedweight.net> wrote:
I kinda like suns and moons better than lots of the other alternatives, for the same reasons Susan lists. Also, there's Sun Dance and Moon Dance, by Robert Cromartie: gents swing in Sun Dance and ladies swing in Moon Dance. A precedence, perhaps?
-Amy
On May 29, 2015, at 8:00 AM, susanelberger via Callers <callers(a)lists.sharedweight.net> wrote:
I have used suns and moons for years, and prefer them because they have one syllable each, sound completely different from each other, and are easy for the dancers to remember. I have never had any issue arise about gender bias from them. The conversation about which gems to use does seem a bit too overthought to me.
Susan ElbergerLowell, Massachusetts
From: Delia Clark via Callers <callers(a)lists.sharedweight.net>
To: "<callers(a)lists.sharedweight.net>" <callers(a)lists.sharedweight.net>
Sent: Friday, May 29, 2015 6:52 AM
Subject: Re: [Callers] Jets / rubies genderfree terms redux: gems?
Okay, this conversation, plus the lunch table at the Puttin’ On the Dance Conference in Ottawa are FINALLY getting me to give up clinging to moons and stars (the only non-gender term I’ve ever used, which I have liked with families and have found works well, but which I understand is too gender-y to be acceptable as the solution we’re looking for - dang!). I am herewith committing to trying out Jets and Rubies next weekend at a dance I’m calling for a wedding of two women. Will report back.
On May 29, 2015, at 1:56 AM, P. Campbell via Callers <callers(a)lists.sharedweight.net> wrote:
I like jets & rubies (and have used the terms) for a number of reasons. (Don't like gems for same reason about confusion).
In a weird way, it's close enough to "lefts & rights" for me to have no trouble remembering who's who (with rubies starting with "r"), and, (apologies to those who might be offended), because it fits the same syllables for me as "gents & ladies" (which I use for historical dance) or "men & women".
For some reason I just can't get a feel for larks & ravens (I have an idea of why but not worth sharing), and I'm not at all comfortable using bands & bares.
For me, it's whatever will be the easiest for me to remember which side is which, and if my brain is wired to think of "jets" (black color) as more masculine and "rubies" (red color) as more feminine (so easier for me to link them to left & right), that's my mental visual process. (I tried apples & oranges once with a group of kids - it was terrible because I couldn't remember which was which side - I have to have some frame of reference).
I think one of the reasons I have trouble with larks & ravens is because of having learned a foreign language that has a gender for nouns, and I want to make larks the right side and ravens the left, but then the syllable structure doesn't work for me.
My 2 cents.
Patricia
Sent from my iPhone
On May 28, 2015, at 3:51 PM, Alan Winston via Callers <callers(a)lists.sharedweight.net> wrote:
On 5/28/15 12:30 PM, Ron Blechner via Callers wrote:
For those interested in gender free contra dance terms:1. Do you like or dislike jets / rubies ?
Like. (I'm responding on personal preference alone; I'm aware of some objections to this, which I don't personally share.)
2. How would gems / rubies compare?
Less good, because the soft "ms" would make the call less clear. Also, rubies _are_ gems, so this is confusing.
-- Alan
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Delia ClarkPO Box 45Taftsville, VT 05073802-457-2075deliaclark8(a)gmail.com
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" I haven't enjoyed the "gender neutral" dance events"
With utmost respect, then discussing gender neutral terms is probably not
so relevant to your interests.
On May 29, 2015 7:00 PM, "Neal Schlein via Callers" <
callers(a)lists.sharedweight.net> wrote:
> Okay, this is from a square dance/contra caller: I'd go crazy if I was
> stuck with a single set of terms, no matter what they were. The rhyming
> potential for the calls is lost.
>
> Anyway, I still think it is more than just a matter of terminology.
>
> All we are doing is swapping words; everyone knows they are stand-ins and
> what they are stand-ins for. In essence, we are just obscuring the
> original choreographic intent of gendered figures and dances, not calling
> gender neutral dances. (Plus, anything written within the last 30 years is
> a copyrighted work and technically we require permission to make changes,
> perform it publicly, OR make derivative works. Not that anyone really
> cares.)
>
> Personally, I haven't enjoyed the "gender neutral" dance events I've been
> to--not because I think it's a bad idea or dislike dancing with men, but
> because the callers were taking historical dances with built-in and
> intentional gender differences and simply ignoring them. Particularly in
> older ECD, it is one thing to intentionally dance the lady's role and
> another to ignore that there WAS a role. It impoverishes the dance as a
> whole.
>
> Some older dances happen to work well as gendered or ungendered dances,
> but to me a truly gender-neutral dance is constructed to intentionally be
> that way. For example, the following:
>
> Gender-Swapped
> By Neal Schlein, 5/29/15
> Duple gender-less contra
> Music: Probably something highly phrased, like Irish
> A1: 1's step into center and handy hand turn neighbor 2 times
> A1: End with everyone facing down the hall, 4 in line, and go down the hall
> A2: Face the center of the line, pass thru, leads u-Turn and swing, any
> type (end in same spot where started swing, 1's on outside, facing up the
> hall)
> B1: Come up the hall
> B1: Bend the line and circle full
> B2: 1's gypsy full and slow cast down while the 2's gypsy or swing 1 and
> 1/2 to end in starting line; 1s come into the center.
>
> It's not the best timing in the B2, but if I did that right....
>
> - With improper and gendered lines, it dances normally the first time
> through--standard swings, everything. The second time, the 1's will be on
> the opposite side of the set, meaning half of the dance is same-gender and
> half is opposite.
> - With PROPER gendered lines, that is exactly reversed.
> - With gender-neutral lines--it is completely random, but it doesn't
> matter because...
>
> The dance itself is gender-neutral: it doesn't need gender or
> gender-substitute terms for teaching any of the figures or the sequence in
> any formation. The choreography was selected to force interaction of
> identical sorts with all participating genders and positions.
>
> .
>
> Neal Schlein
>
> _______________________________________________
> Callers mailing list
> Callers(a)lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>
Okay, this is from a square dance/contra caller: I'd go crazy if I was
stuck with a single set of terms, no matter what they were. The rhyming
potential for the calls is lost.
Anyway, I still think it is more than just a matter of terminology.
All we are doing is swapping words; everyone knows they are stand-ins and
what they are stand-ins for. In essence, we are just obscuring the
original choreographic intent of gendered figures and dances, not calling
gender neutral dances. (Plus, anything written within the last 30 years is
a copyrighted work and technically we require permission to make changes,
perform it publicly, OR make derivative works. Not that anyone really
cares.)
Personally, I haven't enjoyed the "gender neutral" dance events I've been
to--not because I think it's a bad idea or dislike dancing with men, but
because the callers were taking historical dances with built-in and
intentional gender differences and simply ignoring them. Particularly in
older ECD, it is one thing to intentionally dance the lady's role and
another to ignore that there WAS a role. It impoverishes the dance as a
whole.
Some older dances happen to work well as gendered or ungendered dances, but
to me a truly gender-neutral dance is constructed to intentionally be that
way. For example, the following:
Gender-Swapped
By Neal Schlein, 5/29/15
Duple gender-less contra
Music: Probably something highly phrased, like Irish
A1: 1's step into center and handy hand turn neighbor 2 times
A1: End with everyone facing down the hall, 4 in line, and go down the hall
A2: Face the center of the line, pass thru, leads u-Turn and swing, any
type (end in same spot where started swing, 1's on outside, facing up the
hall)
B1: Come up the hall
B1: Bend the line and circle full
B2: 1's gypsy full and slow cast down while the 2's gypsy or swing 1 and
1/2 to end in starting line; 1s come into the center.
It's not the best timing in the B2, but if I did that right....
- With improper and gendered lines, it dances normally the first time
through--standard swings, everything. The second time, the 1's will be on
the opposite side of the set, meaning half of the dance is same-gender and
half is opposite.
- With PROPER gendered lines, that is exactly reversed.
- With gender-neutral lines--it is completely random, but it doesn't
matter because...
The dance itself is gender-neutral: it doesn't need gender or
gender-substitute terms for teaching any of the figures or the sequence in
any formation. The choreography was selected to force interaction of
identical sorts with all participating genders and positions.
.
Neal Schlein