You can tell people which side they need to be on (if it's just
waiting out on the end for something to happen), but frequently the best
advice is to just tell them that the people who are in the dance know
where you need to be better than you (who are standing out) do -- go
where you're needed.
Jack
On 9/6/2010 2:21 AM, PARKER MANN wrote:
I 'm planning on calling a couple of dances this weekend where there is interaction with
couples outside the usual minor sets. One of them is Dan pearl's composition "Cal
and Irene." My concern is what happens at the top and bottom of the lines.
What recommendations do you have to prepare dancers for end effects when they are not
used to anything more than "cross over and wait?"
Thanks.
Parker
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