I had a dance I was calling where you were in and out three different
ways. After a near meltdown, I wrote a stacked call that included the
waitouts in my notes, but concluded that most dances that don't allow
the dancers to take over and the caller to drop out are probably not
worth it.
Sent from my iPhone
On Sep 6, 2010, at 8:32 AM, Jeanette Mill <[email protected]>
wrote:
Great question. I look forward to reading the responses. It's always
tricky
because the dancers don't get to practice the end effects until they
need to use
them once in anger, and then it's over in seconds. And it's hard to
get them in
your head when you're practicing the dance at home as a caller.
Jeanette
"When we eat from the industrial-food system, we are eating oil and
spewing
greenhouse gases."
- Michael Pollan
----- Original Message ----
From: PARKER MANN <[email protected]>
To: [email protected]
Sent: Mon, 6 September, 2010 4:21:45 PM
Subject: [Callers] Dances with tricky end effects
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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