18 Oct
2016
18 Oct
'16
5:55 a.m.
I started dancing in the Boston area in the late 60s and the transitions B2->A1 in
Chorus Jig and Rory O’More were exactly as Jim has described them. It was in fact fun to
vary the transition from one form to the other to make the dance more interesting. Both
rolling into a cast off and pulling across (after moving back but not letting go from the
swing) were both great fun. It needs to be remembered however that the style of swing was
generally different back then. Most people used some form of barrel hold (as was
promoted by Ted S.) rather than a ballroom hold. (Also important for dancing in often
very crowded halls.)
Bob
18 Oct
18 Oct
9:55 a.m.
New subject: [Callers] Ralph Page Style
One of the reasons I wrote “Hot Cross Bunny” was because I love the transition of
swinging, facing up, and going proper down the outside, but I don’t like the wait to be
active. So it’s a double-progression dance, and usually everyone gets their chance to be
active. In a crowd that won’t be confused by it, you can also let the #2 couple swing
during A1 (or g and swing) and face up for when the #1s get back to them (as some people
do in Chorus Jig as well to let the 2s have a swing while the ones go down the outside).
Martha Wild
Hot Cross Bunny
Duple Proper
A1) Ones down the outside, come back up and cross to each other’s place (woman passing
closer to the other couple)
A2) Circle left once around
Do-si-do neighbor once and a half (or think of it as once and then pass through)
B1) Next neighbor g and swing
B2) Long lines forward and back
Ones swing and face up
On Oct 18, 2016, at 3:55 AM, Bob Stein via Callers
<callers(a)lists.sharedweight.net> wrote:
I started dancing in the Boston area in the late 60s and the transitions B2->A1 in
Chorus Jig and Rory O’More were exactly as Jim has described them. It was in fact fun to
vary the transition from one form to the other to make the dance more interesting. Both
rolling into a cast off and pulling across (after moving back but not letting go from the
swing) were both great fun. It needs to be remembered however that the style of swing was
generally different back then. Most people used some form of barrel hold (as was
promoted by Ted S.) rather than a ballroom hold. (Also important for dancing in often
very crowded halls.)
Bob
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10:20 a.m.
New subject: [Callers] Ralph Page Style
Hi Martha and all, guess we're diverging from the original subject here, but I always
had an interest in a contra corners dance that was useable for long sets.. That, to me
anyway, meant double progression and possibly a swing for the inactives (just in case)..
Here's the dance I wrote almost 20 years ago that fits the bill..
below is cut and pasted from my website:
FACE THE MUSIC
A duple improper, double progression contra by Bill Olson
A1 Circle L 1/2, INACTIVES Swing (face up) (16)
A2 With new neighbors up the hall in 4's (inactives are in the middle)(8) turn alone
and return, face across (8)
B1 Actives turn contra corners (16)
B2 Actives balance and swing, face down(16)
Notes: This was my first attempt at a double progression contra corners dance. Obviously
it requires some room above the set. I like to tell the inactives to be ready to
"scoop up" the actives after the swing in B2 so they will get more swing in A1!
First called at the Dover, NH, dance on 9/27/97. Nat Hewitt and Jacqueline Schwab were
playing. On the first walk-through I had everyone stop at the middle point of A2 and I
introduced the band. That was also when I thought of the name for the dance!
A side note.. I called this dance at a weekend in North Carolina in the late 1990's
and Gene Hubert was dancing.. He always wore white when he was dancing so he sort of
"stood out".. Just about every time for the inactives swing and face up in A1,
he faced down and had to quickly correct and turn around and face up.. One time when he
was near the top of the set, right in front of me, he fell down doing the switch and I
have this vision of Gene laughing uncontrollably while lying on his back in the middle of
the set while the dance was going on. Afterwards he came up and said, "you have to
keep calling that dance".. which I have..
anyway.. there it is for what it's worth..
bill
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2 comments
3 participants
participants (3)
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Bill Olson via Callers -
Bob Stein via Callers
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Martha Wild via Callers