Time and again, I find myself wondering what makes a dance a good one
for ending an evening. Looking at lists like Seth Tepfer's "Groovin'
Dances to End an Evening"
(http://www.dancerhapsody.com/handouts/DanceEndEvening3.pdf), it's hard
to see what the dances he singles out have in common with each other.
Some are balancey, some oozy, some have lots of swings, some only one,
levels of complexity vary widely, some end with a partner swing and some
don't... Is it just a total crapshoot, a conjunction of a good tune and
happy dancers, or something actually inherent in the dance pattern?
Speak, o hive mind, upon this subject.
Kalia
On 3/18/2014 2:06 PM, Alan Prince Winston wrote:
> Rich —
>
> What do you need these for? Class residency? Birthday party? How
> old are the kids? Do they want to be there? How long do you have with
> them? How important is it that the dances be historically accurate,
> and now hat dimensions?
>
> The “Colonial Social Dancing for Children” book is aimed at classroom
> teachers and is constructed assuming that you have the kids multiple
> times, and has some emphasis on footwork and etiquette. (Period
> footwork resembles modern Scottish footwork.) The Heritage Dances of
> Early America book isn’t aimed at children and doesn’t help very much
> with how things phrase to the tunes. The Cracking Chestnuts book is
> really looking at old-favorite contra dances; jn the 1820s and 1830s
> the contra dances mostly didn’t look like contra dances as we do them
> today. (Footwork, ball of the foot vs. flat feet, no ballroom
> swinging, handshake stars not wrist-grip stars,e tc.)
>
> Country dances in America and England aren’t very different at this
> point. (Kate van Winkle Keller, with various collaborators, has
> reconstructed and published dance collections from American sources
> 1770s-1790s. Even the “New Country Dances From Topsham Maine” book is
> mostly dances published in Englsh sources.).
>
> Quadrilles have come in. Cotillions haven’t gone yet. The Spanish
> Dance formation seems to come in (in England) in the late 1820s;
> that's more or less Sicilian Circle, and can be fairly accessible.
>
>
> I've had good luck with easy cotillions (Marlbrouk, George
> Washington's Favorite) for kids over 10. For this period you might
> also want reels for three, four, and six. Lancers Quadrille comes in
> (published c. 1815).
-
>
>
>
>
>
>
>
>
>
> On Mar 17, 2014, at 8:11 PM, rich sbardella <richsbardella(a)snet.net>
> wrote:
>
>> I am looking for some period dances that might have been danced in
>> small New England towns in 1820-1830. Should be easy enough for
>> children.
>> Any suggestions?
>>
>> Also, does any know the steps to "Barrel of Sugar"? Recommended music?
>>
>> Rich Sbardella
>> Stafford, CT
>>
>>
>> ________________________________
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
I have a couple of things I look for.
One is that the dance should not involve any new figures. A no-walk-through dance is ideal but not required. Maybe some small part of it needs some instruction. But the dancers are mentally tired and this is not the time to teach anything.
Another is that it should have both partner and neighbor interaction.
A third is that - depending on the band - the Band is likely to want to play their hottest set for the last dance. And for me that means 2 things:
A) I generally do NOT call a medley for the last dance, because I want to let the music roll (see Alan's note below), and
B) Anticipating that the music might be faster than usual, I try to avoid figures that are problematic when the music is fast. That includes full heys and things like DSD once and a half.
On Mar 15, 2014, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
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> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Good ending dances (Kalia Kliban)
> 2. Re: Good ending dances (barb kirchner)
> 3. Re: Good ending dances (Linda Mrosko)
> 4. Re: Good ending dances (Alan Winston)
> 5. Re: Good ending dances (Jeff Kaufman)
> 6. Re: Good ending dances (Bree Kalb)
> 7. Re: Good ending dances (Rich Goss)
> 8. Re: Good ending dances (barbara153(a)aol.com)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 14 Mar 2014 17:30:07 -0700
> From: Kalia Kliban <kalia(a)sbcglobal.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: [Callers] Good ending dances
> Message-ID: <53239F0F.3060105(a)sbcglobal.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Time and again, I find myself wondering what makes a dance a good one
> for ending an evening. Looking at lists like Seth Tepfer's "Groovin'
> Dances to End an Evening"
> (http://www.dancerhapsody.com/handouts/DanceEndEvening3.pdf), it's hard
> to see what the dances he singles out have in common with each other.
> Some are balancey, some oozy, some have lots of swings, some only one,
> levels of complexity vary widely, some end with a partner swing and some
> don't... Is it just a total crapshoot, a conjunction of a good tune and
> happy dancers, or something actually inherent in the dance pattern?
>
> Speak, o hive mind, upon this subject.
>
> Kalia
>
>
> ------------------------------
>
> Message: 2
> Date: Sat, 15 Mar 2014 00:33:59 +0000
> From: barb kirchner <barbkirchner(a)hotmail.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID: <BLU177-W23D600263B921DF68B3706DE730(a)phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
> the perfect last dance is the one where dancers go away happy.
>
> i tell the band to save their very best piece for last, and i call a really easy dance.
>
> that goes double for the end of the first half - EASY dance means beginners go away feeling good, HOT music makes the regulars happy.
>
> barb :-)
>
>
>> Date: Fri, 14 Mar 2014 17:30:07 -0700
>> From: kalia(a)sbcglobal.net
>> To: callers(a)sharedweight.net
>> Subject: [Callers] Good ending dances
>>
>> Time and again, I find myself wondering what makes a dance a good one
>> for ending an evening. Looking at lists like Seth Tepfer's "Groovin'
>> Dances to End an Evening"
>> (http://www.dancerhapsody.com/handouts/DanceEndEvening3.pdf), it's hard
>> to see what the dances he singles out have in common with each other.
>> Some are balancey, some oozy, some have lots of swings, some only one,
>> levels of complexity vary widely, some end with a partner swing and some
>> don't... Is it just a total crapshoot, a conjunction of a good tune and
>> happy dancers, or something actually inherent in the dance pattern?
>>
>> Speak, o hive mind, upon this subject.
>>
>> Kalia
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> ------------------------------
>
> Message: 3
> Date: Fri, 14 Mar 2014 20:26:47 -0500
> From: Linda Mrosko <elmerosko(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID:
> <CAHC5BqerWNSMtw2U7t32F=j1PmXyDwCMpTFoLRiT6JEoDLrztQ(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> I like good partner interaction for the end of the evening, usually a dance
> that ends with a partner swing
>
>
> On Fri, Mar 14, 2014 at 7:30 PM, Kalia Kliban <kalia(a)sbcglobal.net> wrote:
>
>> Time and again, I find myself wondering what makes a dance a good one for
>> ending an evening. Looking at lists like Seth Tepfer's "Groovin' Dances to
>> End an Evening" (http://www.dancerhapsody.com/
>> handouts/DanceEndEvening3.pdf), it's hard to see what the dances he
>> singles out have in common with each other. Some are balancey, some oozy,
>> some have lots of swings, some only one, levels of complexity vary widely,
>> some end with a partner swing and some don't... Is it just a total
>> crapshoot, a conjunction of a good tune and happy dancers, or something
>> actually inherent in the dance pattern?
>>
>> Speak, o hive mind, upon this subject.
>>
>> Kalia
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
>
>
>
> --
>
>
>
>
>
>
> *Looking forward,Linda S. Mrosko7302 CR 2829Mabank, Texas 75156(903)
> 451-5535 (H)*
>
> *(903) 292-3713 (Cell)*
> *(903) 603-9955 (Skype)*
>
>
> ------------------------------
>
> Message: 4
> Date: Fri, 14 Mar 2014 18:44:00 -0700
> From: Alan Winston <winston(a)slac.stanford.edu>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Good ending dances
> Message-ID: <5323B060.2080002(a)slac.stanford.edu>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> On 3/14/2014 6:26 PM, Linda Mrosko wrote:
>> I like good partner interaction for the end of the evening, usually a dance
>> that ends with a partner swing
>>
>
> And it's good to make it a dance where the caller can shut up early.
> Many bands want to play one of their hottest sets so that's what people
> will go home with, and the more you can stay out of the way of that, the
> better.
>
> (This suggests a dance which ends naturally with a partner swing rather
> than one where you come in at the end and change the figure. Also, for
> everyone to have room to swing their partner comfortably, Becket
> formation is handy.)
>
> -- Alan
>
>
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Sat, 15 Mar 2014 10:06:12 -0400
> From: Jeff Kaufman <jeff(a)alum.swarthmore.edu>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID:
> <CAK36jCN7DfjNEKJUY=uPBj=xPWpnQLonCEqWyV-uQppxzPir8w(a)mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> One difference with the last dance of each half is that you don't need
> to worry as much about tiring out the dancers.
>
> As a dancer and a musician I like it when the last set is pretty
> energetic, with lots of balances, so when I'm calling that's what I'll
> request.
>
>
> ------------------------------
>
> Message: 6
> Date: Sat, 15 Mar 2014 10:13:24 -0400
> From: "Bree Kalb" <bree(a)mindspring.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID: <4D81377021BC47FFB0BFE833A1C519D7@BreeHomeLaptop>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=original
>
> I think it's thrilling for the dancers if the last dance of the evening is
> no-walk-thru. That's not always possible (i.e. a flock of brand new dancers
> arrived at 10:00 PM and we already have lots of newcomers) but when it is, I
> call something really easy (Nice Combination, Midwest Folklore, etc.) and
> let the band fly.
>
>
> -----Original Message-----
> From: Jeff Kaufman
> Sent: Saturday, March 15, 2014 10:06 AM
> To: Caller's discussion list
> Subject: Re: [Callers] Good ending dances
>
> One difference with the last dance of each half is that you don't need
> to worry as much about tiring out the dancers.
>
> As a dancer and a musician I like it when the last set is pretty
> energetic, with lots of balances, so when I'm calling that's what I'll
> request.
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> Message: 7
> Date: Sat, 15 Mar 2014 07:36:39 -0700
> From: Rich Goss <richgoss(a)comcast.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID: <E9196E31-E75F-4AF1-9306-5ACA6A405413(a)comcast.net>
> Content-Type: text/plain; charset=us-ascii
>
> I'll frequently call a two or three dance medley as the last dance, all easy, with the same caveats mentioned by Bree.
>
> I have this book called "F in Exams". It has totally wrong and hilarious answers to exam questions. I could imagine an answer to this question:
>
> "The best dance for a last dance is the one that comes at the end."
>
> Rich
>
> ------------------------------
>
> Message: 8
> Date: Sat, 15 Mar 2014 11:32:54 -0400 (EDT)
> From: barbara153(a)aol.com
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Good ending dances
> Message-ID: <8D10E7AF776D042-1A04-1A2EC(a)webmail-d209.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
>
>
> I agree. I like to call Camp Harlem Reel. It gives partners one last gypsy/swing while the band can fly.
> Barbara G
>
>
> -----Original Message-----
> From: Bree Kalb <bree(a)mindspring.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Sent: Sat, Mar 15, 2014 10:13 am
> Subject: Re: [Callers] Good ending dances
>
>
> I think it's thrilling for the dancers if the last dance of the evening is
> no-walk-thru. That's not always possible (i.e. a flock of brand new dancers
> arrived at 10:00 PM and we already have lots of newcomers) but when it is, I
> call something really easy (Nice Combination, Midwest Folklore, etc.) and
> let the band fly.
>
>
> -----Original Message-----
> From: Jeff Kaufman
> Sent: Saturday, March 15, 2014 10:06 AM
> To: Caller's discussion list
> Subject: Re: [Callers] Good ending dances
>
> One difference with the last dance of each half is that you don't need
> to worry as much about tiring out the dancers.
>
> As a dancer and a musician I like it when the last set is pretty
> energetic, with lots of balances, so when I'm calling that's what I'll
> request.
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 115, Issue 8
> ***************************************
>
There is a Fred Breunig dance called "Reel Mud" that was apparently named for mud season?
Martha
On Mar 9, 2014, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
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>
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> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Mud Season? (Luke Donforth)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sat, 8 Mar 2014 14:22:50 -0500
> From: Luke Donforth <luke.donev(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: [Callers] Mud Season?
> Message-ID:
> <CAFrKOZY1J+EODMVs5-cUERO7E25s3+dDJPCd9i-_HzsWk0GdYA(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hello all,
>
> I vaguely remember the existence of a dance called "Mud Season", but no
> more than that. Anyone know it?
>
> My google-foo is failing me, as I'm getting to many spurious hits for mud
> season.
>
> --
> Luke Donforth
> Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
> www.lukedonev.com
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 115, Issue 5
> ***************************************
Hello all,
I vaguely remember the existence of a dance called "Mud Season", but no
more than that. Anyone know it?
My google-foo is failing me, as I'm getting to many spurious hits for mud
season.
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
www.lukedonev.com
Hi Rich,
Ted's Triplet #3 has already been mentioned. Of Ted's Triplets, it's the
only one I know of that's suitable for a less-experienced group.
My dance The Luck of the Morris is in Zesty Contras, in Larry Jennings'
version. Here's my version:
Formation: From a three couple longways set, have ladies #1 and #3 change
places, and have lady #2 and gent #2 change places with each other, to get
a circle with each dancer's partner across from them. Dancers retain their
numbers throughout the dance. The dance is not square with the walls of
the room.
A1: Couple #1 lead a forward six and back [1]
All swing opposite. End couples end their swing facing the center
of the set, and the active couples end facing either of the other two
couples
A2: Active couple ladies chain with the couple you face
Chain back with an extra half turn to face the other couple
B1: Actives half R&L with the couple they face
Actives down center of set and cast off
B2: Circle 6 to the left
All go forward and back
Repeat with couple two leading the first Forward & Back, then couple three.
[1] The forward and back is oriented so that the active couple is going
forward and back to each other, and the other four dancers are going
forward and back towards someone who is not their partner.
For two-couple dances, both Billingsdale Pattern by Chip Hendrickson and
O'Donnell Anew by Tony Saletan are in Zesty Contras.
General Dummer's Reel (for five), my dance Shira's Seven (for seven), and
Cornish Six Hand Reel (for six) are three other dances I've found useful.
They are described in the archives, at:
http://www.sharedweight.net/pipermail/callers/2013-February/005742.html
Jacob Bloom
Date: Fri, 28 Feb 2014 08:01:29 -0800 (PST)
> From: rich sbardella <richsbardella(a)snet.net>
> To: "callers(a)sharedweight.net" <callers(a)sharedweight.net>
> Subject: [Callers]
>
> Three Couples or Less Dances
> Message-ID:
> <1393603289.48866.YahooMailNeo(a)web181503.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Friends,
> I have a small weekly dance session with seniors in CT and often lack
> dancers.? If anyone could share dances for 5 or 7 people, or two or three
> couples, I would?greatly appreciate it.? I often fall back on solo lines
> similar to the electric slide, or I dance them in squares with a phantom
> (not too successful).
> Thanks,
> Rich Sbardella
> Stafford, CT
>
Friends,
I have a small weekly dance session with seniors in CT and often lack dancers. If anyone could share dances for 5 or 7 people, or two or three couples, I would greatly appreciate it. I often fall back on solo lines similar to the electric slide, or I dance them in squares with a phantom (not too successful).
Thanks,
Rich Sbardella
Stafford, CT
Not sure if anyone mentioned the 5 person dance called either Hot Tub Rag, or Jack Turn Back, or sometimes Cottontail Rag. It's by Steve Schnur and you can find instructions for it here:
http://www.library.unh.edu/special/forms/rpdlw/syllabus2012.pdf#page=15b
Martha
On Mar 3, 2014, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
> callers-request(a)sharedweight.net
>
> You can reach the person managing the list at
> callers-owner(a)sharedweight.net
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Re: three couples or less (Sue Robishaw)
> 2. Re: Three Couples or Less Dances (Jacob Nancy Bloom)
> 3. Re: three couples or less (Yoyo Zhou)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 02 Mar 2014 21:33:09 -0500
> From: Sue Robishaw <sue(a)manytracks.com>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] three couples or less
> Message-ID: <5313E9E5.40505(a)manytracks.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> <snip> In the B2 of the dance, Microchase you say "Turn Single (spacer if needed.") Is that because there's music left over after the arch and all thru? <snip>
>
> Yes, I'd simply changed from the Contra Corners in the original to DoSiDos but almost always had time left so ended up adding the TS. I like your arrangement though and look forward to trying it. Even better, it starts with something other than F&B! I just realized I only have one dance in about 50 that has arming in it (other than ECD). Don't know why I didn't notice that before. Thanks!
> Sue
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sun, 2 Mar 2014 21:46:43 -0500
> From: Jacob Nancy Bloom <jandnbloom(a)gmail.com>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Three Couples or Less Dances
> Message-ID:
> <CAJPS8NhT+vUyB+4qZVFtET72EVWJ6gzTKZM=Dk2TsbxHDHkjEQ(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hi Rich,
>
> Ted's Triplet #3 has already been mentioned. Of Ted's Triplets, it's the
> only one I know of that's suitable for a less-experienced group.
>
> My dance The Luck of the Morris is in Zesty Contras, in Larry Jennings'
> version. Here's my version:
> Formation: From a three couple longways set, have ladies #1 and #3 change
> places, and have lady #2 and gent #2 change places with each other, to get
> a circle with each dancer's partner across from them. Dancers retain their
> numbers throughout the dance. The dance is not square with the walls of
> the room.
>
> A1: Couple #1 lead a forward six and back [1]
> All swing opposite. End couples end their swing facing the center
> of the set, and the active couples end facing either of the other two
> couples
> A2: Active couple ladies chain with the couple you face
> Chain back with an extra half turn to face the other couple
> B1: Actives half R&L with the couple they face
> Actives down center of set and cast off
> B2: Circle 6 to the left
> All go forward and back
>
> Repeat with couple two leading the first Forward & Back, then couple three.
>
> [1] The forward and back is oriented so that the active couple is going
> forward and back to each other, and the other four dancers are going
> forward and back towards someone who is not their partner.
>
> For two-couple dances, both Billingsdale Pattern by Chip Hendrickson and
> O'Donnell Anew by Tony Saletan are in Zesty Contras.
>
> General Dummer's Reel (for five), my dance Shira's Seven (for seven), and
> Cornish Six Hand Reel (for six) are three other dances I've found useful.
> They are described in the archives, at:
>
> http://www.sharedweight.net/pipermail/callers/2013-February/005742.html
>
> Jacob Bloom
>
>
> Date: Fri, 28 Feb 2014 08:01:29 -0800 (PST)
>> From: rich sbardella <richsbardella(a)snet.net>
>> To: "callers(a)sharedweight.net" <callers(a)sharedweight.net>
>> Subject: [Callers]
>>
>> Three Couples or Less Dances
>> Message-ID:
>> <1393603289.48866.YahooMailNeo(a)web181503.mail.ne1.yahoo.com>
>> Content-Type: text/plain; charset=iso-8859-1
>>
>> Friends,
>> I have a small weekly dance session with seniors in CT and often lack
>> dancers.? If anyone could share dances for 5 or 7 people, or two or three
>> couples, I would?greatly appreciate it.? I often fall back on solo lines
>> similar to the electric slide, or I dance them in squares with a phantom
>> (not too successful).
>> Thanks,
>> Rich Sbardella
>> Stafford, CT
>>
>
>
> ------------------------------
>
> Message: 3
> Date: Sun, 2 Mar 2014 22:15:07 -0800
> From: Yoyo Zhou <yozhov(a)gmail.com>
> To: sue(a)manytracks.com, "Caller's discussion list"
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] three couples or less
> Message-ID:
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> On Sun, Mar 2, 2014 at 6:33 PM, Sue Robishaw <sue(a)manytracks.com> wrote:
>> <snip> In the B2 of the dance, Microchase you say "Turn Single (spacer if
>> needed.") Is that because there's music left over after the arch and all
>> thru? <snip>
>>
>> Yes, I'd simply changed from the Contra Corners in the original to DoSiDos
>> but almost always had time left so ended up adding the TS. I like your
>> arrangement though and look forward to trying it. Even better, it starts
>> with something other than F&B! I just realized I only have one dance in
>> about 50 that has arming in it (other than ECD). Don't know why I didn't
>> notice that before. Thanks!
>
> I believe the original (Microchasmic) has B1 partner balance and
> swing, B2 all cast off and 1s arch and the rest go through. It looks
> like your variation changes the 16-count balance and swing to an
> 8-count 2-hand turn, which is where the extra time to turn single
> comes from. The cast off and arch ("peel the banana" I've heard it
> called) feels to me like a single figure, so I like it being all in
> one phrase.
>
> I do like Tom's suggestion; the partner left arm turn flows nicely to
> the first corner.
>
> Yoyo Zhou
>
>
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> End of Callers Digest, Vol 115, Issue 2
> ***************************************
I've actually had good luck by taking some of the early chestnuts that were done in triple minor formation and tweaking them a bit into triplets. I call at events put on by the National Park Service with a core group of reenactors in historic dress. Members of the general public join in as they wish, so the make-up on the floor is quite varied. Instead of the top couple casting off one place, I have them cast to the bottom of the triplet. I also tend to convert the right & left thrus into circle left/circle right, or a two-hand turn with partner.
Regards,
Deborah Hyland
St. Louis
