I'm planning to include, in an upcoming evening, a dance with some moderate
(from a beginner perspective) end-effects. Preceding that, I'd like to get
the dancers accustomed to dancing with ghosts with a view to making the
end-effects make sense or, at least, be less of a concern.
I can think of a few dances in which there are easy-intros to end effects
(a move involving a an out-and-back with a shadow, for example (e.g. The
Young Adult Rose)) but I'm more interested in dances that callers may have
in mind that dance well with ghosts.
Maybe I could write a purpose-written dance with the name "The Ghosts and
Mrs. Muir". :)
(Dating myself)
Ken Panton
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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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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>
--
Jack Mitchell
Durham, NC
We danced this one last weekend, and it works quite well, even if the "dolphin" couple doesn't quite get the "switch leads without switching places" bit. As long as they wind up in the center, it works.
Passion for Dolphins
A1 Down the hall, 1s in the middle. Turn alone, come back, end with all facing Lady 2.
A2 Full dolphin hey by the 1s, starts with Gent 1 passing Lady 2 by the right.
B1 Ones swing in the middle of the set (8) (end facing down) and roll out to swing N (8) (progression).
B2 LL F/B. 2s (below) gate their new ones about 1.25, to a new line facing down.
April Blum
It's been a while since I've danced one of these but I know they exist!
1. Line of four goes down the hall.
2. While there, do something such as 1/2 hey.
3. Line of 4 comes back up.
Any suggestions for lovely dances that include such a (or similar) sequence?
Thanks.
Ken Panton
Anyone know who wrote late in the evening?
A1 n balance and box the gnat, mad robin
A2 g cross, p swing
B1 g all left 1.5, n s
B2 int sq thru 4
And either name or author for
A1 n b and s
A2 pass the ocean, balance, walk forward, left shoulder round the previous back to original neighbors with gents in middle of wave
B1 balance waive, gents all L 1/2, p s
B2 circle l 3/4 pass thru next neighbor dsd
Or
A1 short wavy line across. Bal r,l all r 3/4 to long waves. Bal l, r, all l with previous 3/4 to short waves
A2 bal r and back, walk forward original n s!
B1 w all r 1.5, p s
B2 circle 3/4 bal ring, pass thru up and down to wave of 4
Thanks in advance!
Alex
Sent from my iPad
