When this thread title came up I thought it was a new dance title, something like Waiting for Godot. Au contraire!
For the survey, I am:
~ right hand dominant
~ left eye dominant
~ probably right brain dominant
Fascinating factoid: For many years I entertained myself during long family trips and boring school days by practicing writing legibly with my left hand as well as with both hands simultaneously (LH frontwards l->r and RH backwards r->l) I just checked, and I am still reasonably good at both.
~ Chrissy Fowler
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to those that me: I am not all right (The Mitt is done? WAHOO!)
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Today I am right handed however the story goes that my family didn't want a lefty so they retrained me or so the story goes. My family never lets facts get in the way of a good story, so neither will I. Count me in with the righty's but having a secret yearning to be a lefty.
----- Original Message ----
From: Joyce Miller <joyceling(a)sbcglobal.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Tuesday, February 5, 2008 9:47:46 AM
Subject: [Callers] Waiting for Lefty
I called at an event recently where I was one of three callers. We
discovered that all three of us are left-handed. I am curious to know
how many people on this list are left-hand dominant.
Joyce Miller
Grass Valley, California
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In this case I feel Left out... but really I am all Right (smile)
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Hi,
I am preparing to call Nathaniel Jacks Its A Pirates Life for Me
tonight. The dance is below. I am wondering why at the end of the B2 the
allemande with your neighbor is a second allemande right. Since the women
already have their right hands busy with their own allemande right it would
seem easier for them to do an allemande LEFT with their neighbor, and since
the next move is a balance with your new neighbor it would seem easier for
all to be coming out of that allemande left, rather than out of an allemande
right. Do I have this part of the dance wrong?
The dance notation is followed by my understanding of some of the other
parts as well. If you have time take a look. I would love your comments on
this too. My main concern at this point however is with that second
allemande right. It seems like it should be an allemande left.
Its A Pirates Life For Me - teaching
Nathaniel Jack - duple improper
Dance
A1 Neighbor Balance and Swing
A2 Pass thru to a wave (4)
Bal the wave (4)
Slide right (men 2 places) (4)
Men Allemande Left (once) (4)
B1 Partner Balance and Swing.
B2 Women Allemande Right once and a half around (8)
Neighbor Allemande Right ( 1 ¾ ) to New Neighbors (8)
Teaching I have abbreviated this
A1
1. Neighbor BALANCE AND SWING
2. End facing across
A2
1. PASS THRU TO A WAVE ACROSS
* Start to walk straight across the set, passing right shoulders with
your partner, putting the women in the middle
* As the women pass each other take left hands and turn ¼ so W1 faces
up and W2 faces down the set
* Men continue to the ends and join that wavy line
* M1 face up, M2 face down
* You are in a wavy line across the set with the women in the middle
holding left in left, and the men across the set from where they started
holding right hands with the women
2. BALANCE THE WAVE
3. SLIDE RIGHT
* Without turning around SLIDE to your RIGHT, like sliding doors, as
in Rory OMore
* Men Pass 2 people and end left in left
4. MEN ALLEMANDE LEFT (1) (IN 4!!!) this is zippy
B1
1. PARTNER BALANCE AND SWING
End that swing facing across the set.
B2
1. WOMEN ALLEMANDE RIGHT, each other, (1 ½ ) to your neighbor
2. NEIGHBORS ALLEMANDE also by the RIGHT (1 ¾ ) to New Neighbors
3. Ready to Balance and Swing with your New Neighbors, when the dance
continues
Rickey,
I have never tried the B2 you offered, as I too thought it might be awkward.
Fortunately, Lisa Greenleaf offered what she said was the original B2 on
this list a few months ago:
Women Do-si-do 1.5 to face current neighbor,
Gypsy neighbor right 1+ to progress to new neighbor.
I've found that to be pretty easy to teach and to dance.
The B2 with two right-hand allemandes might indeed be fun, but I expect you
would have to mindful that there will be dancers thinking "this is wrong."
Which brings up the whole issue of fun ways to project confidence that "yes,
this is how it goes" or even "here's the fun part."
Jerome
On Feb 4, 2008 11:00 AM, <callers-request(a)sharedweight.net> wrote:
>
> From: "Rickey" <holt.e(a)comcast.net>
>
> The dance notation is followed by my understanding of some of the other
> parts as well. If you have time take a look. I would love your comments
> on
> this too. My main concern at this point however is with that second
> allemande right. It seems like it should be an allemande left.
>
> It?s A Pirates? Life For Me - teaching
>
> Nathaniel Jack - duple improper
>
> Dance
>
> A1 Neighbor Balance and Swing
>
> A2 Pass thru to a wave (4)
>
> Bal the wave (4)
>
> Slide right (men 2 places) (4)
>
> Men Allemande Left (once) (4)
>
> B1 Partner Balance and Swing.
>
> B2 Women Allemande Right once and a half around (8)
>
> Neighbor Allemande Right ( 1 ? ) to New Neighbors (8)
>
>
--
Jerome Grisanti
660-528-0858
660-528-0714
http://www.jeromegrisanti.com
[Apologies for duplicate posting]
I'd like to make folks on this list aware that my new video about caller Ralph
Sweet is now available for purchase on DVD. Entitled "Sweet Talk," it's 73
minutes long, mostly an edited interview with Ralph.
Additional material interspersed with the interview includes segments on the
early years of modern Western square dancing, some older audio recordings and
photographs of callers and dancers as well as diagrams from numerous square
dance books. There are also several short sequences recorded in recent years of
Ralph calling, including at the Greenfield dance the night when Ralph and his
all-star band recorded the wonderful "Shindig in the Barn" CD.
Among the topics that Ralph discusses are his own history in traditional dance
(from Connecticut to Georgia to Texas and back again to New England), the rise
of MWSD and some subsequent difficulties that movement faced, his attempts to
introduce contra dance to modern Western dancers, his fife and flute business,
and some advice for callers.
Others on this list have seen parts of the video that were screened at the
recent Ralph Page Dance Legacy Weekend; some have copies of the entire video
that they purchased at that time. I'll let them speak to the merits of the
video, if they feel so moved.
I also have copies available of the Dudley Laufman video and my earlier one that
focuses on Bob McQuillen. Discount prices available for folks who purchase
packages containing more than one title.
Please contact me off-list for more information.
David Millstone
<millstone(a)valley.net>
P.S. And let me conclude by encouraging others to get out there with a video
camera to record interviews with callers, musicians, dancers, organizers, as
well as shooting footage from dances. Once you've done so, look into making that
ootage available to others by getting it-- originals or a good copy-- into an
appropriate archive!
Friends,
It seems that having folks who really dislike swinging together at a
community dance is bad news...with, or without shadow swings. I know
it happens, but callers can work to create a more gracious and
generous atmosphere. It would feel odd to plan an evening program
while considering the needs of people who wish to avoid contact at a
social dance.
Chris, I wonder; how would you feel about a dance with a shadow
swing, and a neighbor swing, but with NO partner swing? I suspect
that many of us call a dance or two each night with no partner
swing. Would you protest more if there were one partner-swing-free
dance with a shadow swing? (And would that be "rational hypocrisy?)
Also, how many dances a night do you call that have no partner swing?
Just wondering,
Greg
*********
At 02:35 PM 1/24/2008, Chris wrote:
>I currently don't have any dances with shadow swings in my
>repertoire, by choice.
>
>Part of that is to avoid the situation where you're forcing two
>people to swing together who Really Don't Want To Swing
>Over and Over. And they'll let you know it, whether it's a
>breakup, or one person's someone that they don't want to
>dance with. (In my first community I went to, there was
>one person like this. It would drive which lines people went
>into, people would refuse sometimes to neighbor swing
>with said person, and it really corrupted the whole partner-
>asking dynamic of the dance. So I'm shaped by an extreme.)
>
>There's the secondary reason that it's not as interesting as
>it's the same person over and over and over. And you've
>already got your partner over and over and over, with the
>partner swing I need to pander to. So that cuts out still more
>neighbor interaction. It's why I strongly prefer neighbor grand
>right and lefts to shadow grand right and lefts, for instance.
>
>A shadow can be a convenient marker to create the effect
>of a lose-and-find partner sequence, so they do have their
>uses.
>
>
>
>Yet I call a dance with a shadow swing about one night
>of every three. They're the four-face-fours where you swing
>your corner. So I fully admit to irrational hypocrisy.
>
>-Chris Page
>San Diego
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