I don't think this would work, because it is the cast off that sends
folks into the middle to do the wavy line, and getting to the center
(even if there was room) woudl be really awkward for the 2's. I
suspect this would be tricky to "balance" by alternating 1's and 2's
active because it would make it even more complicated than it already
is. Depending on the shape of your hall and the size of your group,
though, you could do this with more sets, with fewer people in
them. That way folks would change between being 1's and 2's more
quickly. Another possibility to get in contra corners in an older
dance would be to do a triplet. It can be easier to learn contra
corners when the folks not turning contra corners aren't having to be
corners for more than one person. I seem to remember a discussion of
triplets a few months ago on this list that might cover some more on
them. Since contra corners was originally a triplet, though, it can
be easier to learn that way. Rory O'More is an ambitious dance to
teach and learn, and if you have dancers who are going to protest,
that's just another strike against you.
If you're particularly wanting to get contra corners in more often, I
recommend one of the other "alternating corners" dances, such as the
modern classic by Jim Kitch. If you're looking for a chestnut,
Chorus Jig can be good, and I believe can be done alternating (I
believe there was discussion of that a while back too -- in fact, I
just found it -- see below).
Good luck with the calling and please say hello to Meghan Carr if you
happen to see her!!
Jack
Here's the alternating version of Chorus Jig:
> That said, in many cases it's possible to simply alternative the
active role> between the 1s and 2s, and balance the dance better.
Some callers do this.> (I don't think there's a good way to do it
with Chorus Jig, though.)
Yes there is - when sets are long enough, I've been using this
version for a few years;
1A1. 1's down the outside, turn alone and return
1A2. 1's down the center, turn alone, return and cast off
1B1. 1's turn contra corners
1B2. 1's balance, swing
2A1. 2's up the outside, turn alone and return
2A2. 2's up the center, turn alone, return and cast off
2B1. 2's turn contra corners
2B2. 2's balance, swing
As we all know, it has been customary for the inactives to cheat and
swing during the A1. When the actives are done with B2 in this
version, they can start cheating by simply keep on swinging - they're
already there. Then after about a 28 beat swing they'll appreciate
being inactive for a while.
At 03:54 PM 3/6/2008, you wrote:
I have a new problem however!
Now that I understand the casting off, these two explanations also
pointed out something I'd completely overlooked in the A1-
that it is 1's/active's only in the long wavy Rory O'More line! I
should have noticed this, it's right there in print, but somehow I missed it.
This is very bad for me, as our dance organizer is against
imbalanced dances anyway, and the Rory O'More twirls are one of her
favorite moves. I thought I could slip this one by, as the origin of
Rory O'More, but not if she has to be inactive for more than 16
beats at a time. And I am afraid I may be castigated for calling a
dance where the 2's are completely inactive for more than 32 beats!
So this brings me to a new question:
Can this dance work if the inactives are included in the Rory O'More
line? So at the end of A1, instead of actives only, everyone would
come forward into a LWL, taking hands with their partner and a
neighbor or the opposite gender. Balance, balance, and twirl,
repeat, then the initial call for B1 would be something like:
1's by the right whilethe 2's back out, 1st corners alle-mande
Has anyone tried it this way? I think this is what I will do, if I
don't end up scrapping it all together due to nervousness or time constraints.
Thank you so much for your input!!
Alison Murphy
"If Tyranny and Oppression come to this land,
it will be in the guise of fighting a foreign enemy."
~ James Madison
HTTP://WWW.RONPAUL2008.COM
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