Lynn,

I'm glad you're looking at your dances in detail.  You've made me think about 
an aspect of programming that I've forgotten about.  There was a time when I 
used to program most of my dances of the evening to be flowing and having good 
transitions.  In the DC area I'd  throw in a dance or two that had an awkward 
moment.  Many of the dancers in that area dance 1-4 nights a week.  They dance 
the dances that flow and have good transitions all of the time.  You might even 
say that many of them could be a little bored by some of the common transitions 
that flow (and therefore are used in many dances)  The awkward move or 
transition was a new puzzle for them to play with.  It made them think and 
adjust.  Of course the level of the dance had to fit the skill level of the 
crowd.

I can remember as a dancer enjoying the non flowing or bad transition on 
occasion (one an evening).  Sounds strange but I've heard others mention the 
same thing.  And of course not everyone will enjoy this.  As we all know you 
can't please everyone 100%.  Maybe it's save to say that we try to please the 
average.

By the way, Bob Dalsemer once made a good point in this regard.  He said that 
many of the transitions that we now consider as good transitions were 
considered awkward years ago when they were first introduced.

Tom

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>    1. Questionable figure transitions (lynn ackerson)
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> ----------------------------------------------------------------------
>
> Message: 1
> Date: Mon, 12 Dec 2005 15:07:33 -0800 (PST)
> From: lynn ackerson <[email protected]>
> Subject: [Callers] Questionable figure transitions
> To: callers <[email protected]>
> Message-ID: <[email protected]>
> Content-Type: text/plain; charset=iso-8859-1
>
> Hi all. Several times a year I go through my cards and try to throw out 
> dances that turned out not to be as great as I thought they were when I 
> collected them. This round,  several transitions are sticking out for me as 
> being awkward. The first is a ladies chain to a circle L with the same group 
> of 4. The courtesy turn ends with both dancers' momentum going more toward a 
> circle R than circle L. I find this transition even worse when the ladies 
> chain is on the L diagonal followed by a circle L with the couple across. On 
> a R&L through followed by a circle L, I recommend that the dancers use a 
> California twirl instead of a courtesy turn and that gets around that 
> courtesy turn to circle L transition.  Am I being a bit too anal about this? 
> There are just so many dances available, I feel like I need to get down to 
> this level of detail to weed some out.
>
>   The second transition that I see a lot, especially in Cary Ravitz dances is 
> swing to star (L or R) in same group of 4. For this one, one of the swingee's 
> needed hand will be around their swinging partner and it's awkward to 
> extricate it to make the star. In some dances, depending on what follows the 
> star, I can replace the star with a Long Lines F&B which fixes it.
>
>   I talked to several of you at NEFFA about another transition that really 
> bugs me: from a hey which has a R shoulder pass in the middle to a swing on 
> the side. Whoever finishes the hey first, has to make an immediate change in 
> momentum (since they just passed L on the side) to get into a swing. Some 
> dances alleviate the problem by using a balance and swing instead of just a 
> swing, but that only works if there's enough time.
>
>   Any thoughts? Like I said, I'm getting way down to the details to come up 
> with reasons to weed out dances. Do you have suggestions for making these 
> transitions smoother? Are there other transitions you personally try to avoid?
>
>   Thanks,
>        Lynn
>
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> End of Callers Digest, Vol 16, Issue 3
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