>
> "While I am sensitive to cultural issues, until someone comes up with a
> term
> that captures not only the physics of the move, but also the flirtatious
> nature of it, I will probably grimace any time someone uses a different
> term. ...It is more than a figure, it is a figure with an attitude. "
>
THIS. This is why i personally can no longer use the term as the name of a
move. Because doing so the name of an ethnic group to mean "make sultry
eye contact."
Mr. Fuerst's suggestion that the direction of a term's evolution should be
the deciding factor is an interesting one. However, the term's use to refer
to a carefree or nomadic individual is distinct from the associations it
conjures with regard to the dance move. As so many quickly point out,
Romani voices lack consensus on whether the term is offensive. It's not our
community's term to appropriate, until there's a Roma consensus that it
ISN'T offensive we should discontinue it, and why can't we just call the
move something that indicates what it involves. Er, indicates what it
involves without obliquely referencing stereotypes that were well ingrained
in western Europe by Victor Hugo's day and age.
Naivete is forgivable. Trying to shut others down from making a positive
change is not. If you want to keep using the G-word yourself, be my guest.
But don't presume to educate me on the term's meaning IN THE CONTEXT OF OUR
DANCE and how it relates to well-documented stereotypes.
Hello folks,
I have set up a "Community Dance" Facebook Page as a place to share family
friendly community dances with each other. My expectation is that the page
will be a place to swap dances, and to provide information regarding
caller/leader training opportunities.
This page is not intended as a discussion group, nor is it intended for
sharing contra or complicated square dances, but rather for sharing dances
that children can easily succeed in.
Since I am a visual learner, I hope that users will provide both links to
videos, and written descriptions of dances whenever possible.
I have reposted a link from a caller gathering this past weekend led by
Patricia Campbell as the first dance to share.
I am practically computer illiterate, so if any of you gurus want to help
make the page useful and attractive. please reach out.
Thanks,
Rich Sbardella
Stafford, CT
I have yet to call a dance with a cloverleaf in it because I am not
comfortable with teaching the walk thru. The Connectrix by Rick Mohr has
such a cloverleaf.
Any suggestions on good teaching language, and any other dances with such a
cloverleaf would be welcomed.
Thanks,
Rich Sbardella
CT
Tom asked about combinations of Chassee and Heel & Toe in old English
dances.
Well first of all, these days in England we usually say Gallop rather than
Chassee.
It depends on what you mean by old. I have these in my box:
Pat-a-Cake Polka
The Swedish Masquerade (thought that is a polka rather than a gallop)
Ping
Wee Willie
Redwing Mixer (1950s I think)
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Laurie,
Jim makes good points. Think of the "pass through, circle left,
pass through" as one extended 16 beat figure rather than trying to break
it into 2 8 beat figures with the circle crossing the middle of the
phrase. When I'm calling this dance the 2nd half of the dance goes
something like this (as best I can recall sitting at my computer).
(starting on the last 2 beats of the previous phrase)
pass through, (pause for a beat), turn alone, circle left, (pause for a
few beats), pass through, (pause for a beat or so), balance and swing
The "turn alone, circle left" goes very quickly, taking maybe only 2
beats. The rest tends to be slower, one word per beat. Writing this
out may not be the best way to convey my meaning, but hopefully it gives
you some idea.
Jonathan
-----
Jonathan Sivier
Caller of Contra, Square, English and Early American Dances
jsivier AT illinois DOT edu
Dance Page: http://www.sivier.me/dance_leader.html
-----
Q: How many angels can dance on the head of a pin?
A: It depends on what dance you call!
On 3/31/2016 12:34 AM, James Saxe via Callers wrote:
> On Mar 30, 2016, at 9:35 PM, Laur via Callers <callers(a)lists.sharedweight.net> wrote:
>
>> I am not comfortable with the timing in Boomerang. Am I off or .. is there something I'm missing???
>>
>> I've tried (with my imaginary friends) several theories but - always the timing isn't quite there.
>>
>> Laurie
>> West MI
>
> Laurie,
>
> You don't say what part of the dance you're uncomfortable with, but
> I'm going to guess that it's the B1 part. The timing as given by
> Gene Hubert in _Dizzy Dances, Volume II_ is:
>
> Pass thru ACROSS the set and turn alone(4).
> Circle left, go all the way around(8).
> Pass thru ALONG the set to meet your partner(4).
>
> The timing is a bit unusual in that the circle crosses the middle
> of the phrase, but I don't think there's anything wrong with it.
> Dancers who aren't used to circling all the way around in 8 beats
> can make up time on the pass thru (or pull thru) along and on the
> forward part of the subsequent balance. On the other hand, if the
> dancers can easily circle once in 8 beats and if they think that 4
> beats for pass thru along is a bit leisurely, they can try rearing
> back at the end of the circle, or even add a spin during the pass
> thru.
>
> You can see a video of _Boomerang_ here:
>
> https://www.youtube.com/watch?v=zj49YHAMGnk
>
> (Thanks to Chris Page for supplying the title in a comment, so that
> the video was easy to find.) If you study the video, you'll see
> many examples of dancers managing to meet their partners just in
> time for the balance at the start of the B2 music--and also a few
> examples of dancers being either early or late. Beware that there
> are a number of places where the video cuts to a different camera
> angle and the new cut doesn't pick up at the same place in the tune
> as the previous cut ended.
>
> I hope some of this is helpful.
>
> Cheers,
> --Jim
I am not comfortable with the timing in Boomerang. Am I off or .. is there something I'm missing???
I've tried (with my imaginary friends) several theories but - always the timing isn't quite there.
LaurieWest MI ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself from life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
Hi, Claire,
One triplet I have enjoyed is Rick Mohr's Triplet #2 (I've copied his notes
below). once dancers get the feel, the momentum of the 1's leading into the
circle at the beginning of A2 is very satisfying, as is the wave into the
hey.
I had it nearly fall apart one time when the group of people left were all
beginners, but they were having a good time and laughed throughout - either
caught up on the circle left or straightened out the set at the partner
swing at the end, so it worked well enough.
I used to coordinate an open band/open caller dance that got tons of
musicians but was often short on dancers, so it was handy to have
interesting dances that worked for very short sets. I also once improvised
Rory O'more as a triplet, but the memory is hazy now. I think I just had
the #1 couple swing to the bottom of the set at the end.
-Valerie Cohen, Seattle
Rick's Triplet #2
By Rick Mohr; January 28, 2002
Triplet, 1's Improper
Level: Intermediate/Advanced
A1: 1's cross *(passing right shoulders)*, go outside below 2's who move up
(6)
1's cross *(passing right shoulders)*, turn right, go outside around two
people *(ending proper)* (10)
A2: Circle left 6 hands round (12)
Allemande right with partner 3/4 (4)
*(Join left hands with neighbor to form a wave of six)*
B1: Balance the wave (4)
Half hey for 6 *(neighbors pass left shoulders to start)* (12)
B2: Balance and swing partner (16)
The figures of this dance fit the music phrases exactly, so it can be quite
satisfying if dancers are on the ball but somewhat unforgiving if they get
confused.
The active couple moves continuously in A1. First they cross around the 2's
to the middle position, and then without stopping they cross again and both
turn right—the man loops around the bottom couple while the woman loops
around the top couple. As the active dancers return to the middle position
(proper) all join hands and match their motion smoothly into a circle left.
The circle left in A2 takes 12 steps, so be aware to call the allemande
right in time for its four steps to end the phrase in time to balance the
wave at the start of B1. Then 12 weaving hey steps invert the set in time
for the partner balance and swing at the start of B2.
In terms of the original numbering, once through the dance leaves the
couples in a 3, 1, 2 sequence.
>
> Message: 1
> Date: Sat, 26 Mar 2016 11:22:05 -0400
> From: Bob Isaacs via Callers <callers(a)lists.sharedweight.net>
> To: Claire Takemori <cht(a)mac.com>, Shared Weight
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Favorite Triplet ?
> Message-ID: <SNT151-W13A3370BE1CAB812BBB30BAA840(a)phx.gbl>
> Content-Type: text/plain; charset="windows-1252"
>
>
>
>
> Hi Claire:
> If you want a triplet with contra corners and a hey for 6 (and very much
> for experienced dancers) then try:
> Cinnamon CrullerTriplet, properBI / 10-23-05
> A1. 1s cast to bottom, 1s up the center and 1/2 figure 8 below (2s move
> up)A2. 1s turn contra cornersB1. All partner allemande R 3/4, 1/2 hey for
> 6B2. Partner balance, swing - face up progressed (3-1-2)
> Bob
>
> > Date: Wed, 16 Mar 2016 22:51:38 -0700
> > To: callers(a)lists.sharedweight.net
> > Subject: [Callers] Favorite Triplet ?
> > From: callers(a)lists.sharedweight.net
> >
> > Hi everyone. I?m enjoying all the great information that is shared on
> this list. Thank you!
> >
> > I?m wondering if you have a favorite Triplet that would work for a very
> small but experienced contra dance with just 6 dancers left after the
> break? Ideally
Thank you all for the great triplets! I did call Dave’s Triplet #5 with a hey for 6 that they loved, but I was guest calling and so we had 3 triplets during my slot, but after the break it was down to 6-8 dancers and we were looking for choreography for small groups.
I appreciate your time and very helpful explanations of the choreography!
Claire Takemori (Bay Area, CA)
On Mar 30, 2016, at 1:01 PM, via Callers <callers(a)lists.sharedweight.net> wrote:
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Today's Topics:
1. Re: Favorite Triplet ? (Valerie Cohen via Callers)
2. Re: Favorite Triplet ? (Michael Barraclough via Callers)
----------------------------------------------------------------------
Message: 1
Date: Wed, 30 Mar 2016 10:50:31 -0700
From: Valerie Cohen via Callers <callers(a)lists.sharedweight.net>
To: callers(a)lists.sharedweight.net,
callers-request(a)lists.sharedweight.net
Subject: Re: [Callers] Favorite Triplet ?
Message-ID:
<CADtea0CxofU+jPuC3zjer+W6uBf83nSr5G34njVybKhUOb04cA(a)mail.gmail.com>
Content-Type: text/plain; charset="utf-8"
Hi, Claire,
One triplet I have enjoyed is Rick Mohr's Triplet #2 (I've copied his notes
below). once dancers get the feel, the momentum of the 1's leading into the
circle at the beginning of A2 is very satisfying, as is the wave into the
hey.
I had it nearly fall apart one time when the group of people left were all
beginners, but they were having a good time and laughed throughout - either
caught up on the circle left or straightened out the set at the partner
swing at the end, so it worked well enough.
I used to coordinate an open band/open caller dance that got tons of
musicians but was often short on dancers, so it was handy to have
interesting dances that worked for very short sets. I also once improvised
Rory O'more as a triplet, but the memory is hazy now. I think I just had
the #1 couple swing to the bottom of the set at the end.
-Valerie Cohen, Seattle
Rick's Triplet #2
By Rick Mohr; January 28, 2002
Triplet, 1's Improper
Level: Intermediate/Advanced
A1: 1's cross *(passing right shoulders)*, go outside below 2's who move up
(6)
1's cross *(passing right shoulders)*, turn right, go outside around two
people *(ending proper)* (10)
A2: Circle left 6 hands round (12)
Allemande right with partner 3/4 (4)
*(Join left hands with neighbor to form a wave of six)*
B1: Balance the wave (4)
Half hey for 6 *(neighbors pass left shoulders to start)* (12)
B2: Balance and swing partner (16)
The figures of this dance fit the music phrases exactly, so it can be quite
satisfying if dancers are on the ball but somewhat unforgiving if they get
confused.
The active couple moves continuously in A1. First they cross around the 2's
to the middle position, and then without stopping they cross again and both
turn right?the man loops around the bottom couple while the woman loops
around the top couple. As the active dancers return to the middle position
(proper) all join hands and match their motion smoothly into a circle left.
The circle left in A2 takes 12 steps, so be aware to call the allemande
right in time for its four steps to end the phrase in time to balance the
wave at the start of B1. Then 12 weaving hey steps invert the set in time
for the partner balance and swing at the start of B2.
In terms of the original numbering, once through the dance leaves the
couples in a 3, 1, 2 sequence.
>
> Message: 1
> Date: Sat, 26 Mar 2016 11:22:05 -0400
> From: Bob Isaacs via Callers <callers(a)lists.sharedweight.net>
> To: Claire Takemori <cht(a)mac.com>, Shared Weight
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Favorite Triplet ?
> Message-ID: <SNT151-W13A3370BE1CAB812BBB30BAA840(a)phx.gbl>
> Content-Type: text/plain; charset="windows-1252"
>
>
>
>
> Hi Claire:
> If you want a triplet with contra corners and a hey for 6 (and very much
> for experienced dancers) then try:
> Cinnamon CrullerTriplet, properBI / 10-23-05
> A1. 1s cast to bottom, 1s up the center and 1/2 figure 8 below (2s move
> up)A2. 1s turn contra cornersB1. All partner allemande R 3/4, 1/2 hey for
> 6B2. Partner balance, swing - face up progressed (3-1-2)
> Bob
>
>> Date: Wed, 16 Mar 2016 22:51:38 -0700
>> To: callers(a)lists.sharedweight.net
>> Subject: [Callers] Favorite Triplet ?
>> From: callers(a)lists.sharedweight.net
>>
>> Hi everyone. I?m enjoying all the great information that is shared on
> this list. Thank you!
>>
>> I?m wondering if you have a favorite Triplet that would work for a very
> small but experienced contra dance with just 6 dancers left after the
> break? Ideally
Thank you for the helpful comments when I shared this dance a few weeks
ago. I called the dance as written on 3/18/2016 at the Memorial Dance
for Charlie Fellows. It went ok but, as forecast, it was hard work to
ensure that the B2/A1 transition went smoothly. I have therefore changed
the dance slightly which I hope makes it a better dance. The original
B1and B2 have been swapped and the two 'trades' have been changed for a
'turn single' and a 'California Twirl'.
The final dance is as follows:
FOR HE'S A JOLLY GOOD FELLOW
Michael Barraclough (2016)
Longways improper
A1 Balance the ring, Petronella, Balance the ring, Turn Single
A2 Give & take (men take, neighbor swing)
B1 Give & take (men take, partner swing)
B2 Balance the ring, Petronella, Balance the ring, California Twirl
This keeps most of the symmetry/simplicity from the original but
improves the B2/A1 transition. Dancers eemed to like the double Give &
Take.
The full dance is available at
http://www.michaelbarraclough.com/24-dances-i-have-written/1090-for-he-s-a-…
--
Michael Barraclough
michael(a)michaelbarraclough.com
www.michaelbarraclough.com
While preparing to teach the beginners' session for tonight's dance in
Olympia, WA, I jotted down several figures I could teach that would be
simple enough, flow reasonably well and get them dancing. I looked at
my list and said, "Huh! This looks like an actual dance." I was
missing one figure to complete it. Today, while waiting for our caucus
to begin, I decided on the final figure. My caller/musician friend,
Valerie Cohen, who was sitting next to us, said I should call it the
Caucus Shuffle. I said I was planning to call it "Feelin' the Bern,"
to which she responded, "Then it should progress left." You're
welcome.
I think the dance works whether one starts at A1 or A2. Starting at A2
would end with a partner swing, which is always nice at the end of the
evening.
At any rate, here's the dance. My questions are, 1) does this already
exist? and 2) do you see any major problems with it?
Feelin' the Bern
Becket, improper contra
A1 Partner swing (16)
A2 Long lines forward and back (8)
Mad robin (ladies go in front) (8)
B1 Circle right 3 places (~8)
New neighbors star right (8)
B2 Neighbor allemande right (8)
Half hey (gents pass left), ladies ricochet (8)
-Amy
P.S. I'm going to call it tonight, but not for the beginner session.
I'll start by having everyone shuffle, single-file, around the oval of
the set, until they return to where they started.
