Hi, John,
This isn't quite the same thing, but I like ricochet heys, and I
thought it would be nice to be doing the ricochet with your own
partner. So I wrote a couple of dances where partners meet in the
hey. I suppose they could be done without the ricochet and the
partners could spin off each other. In the first one, the 2s are
doing the hey while the 1s ricochet. In the second the 1s hey while
the 2s ricochet. The first is a little more difficult, but both 1s
and 2s get to swing, even though it is unequal. The second has the
ones swing and a neighbor swing. I first danced these heys in a dance
called Huntsville's Queen Bee Hey by Jane Ewing, where the women walk
the hey pattern while the men ricochet. I figured that if the men
were doing the hey it would be a King Bee Hey (so I wrote one like
that) and so I named these Worker Bee Hey #1 and #2. Didn't know they
were called ricochet heys until later. I'm just copying these from a
little book I put together, sorry if there is duplication of any
details. It is also possible that version 2, if you leave out the
ricochet hey aspect, may have been devised by someone else, as it is
fairly straightforward.
Worker Bee Hey #1 Martha Wild
Duple improper September 24, 2006
A1 Down the set four in line (1s inside)
Turn as couples and return*, face in^
A2 “Worker bee” hey@, 2s start passing right shoulder
B1 2s gypsy and swing, end swing facing up!
B2 Handy-hand allemande ~1 ½ times (2s on the inside to start)
1s swing and face down
* A little odd as the men are on the right of the women for the turn.
^ The line is not bent, all just turn to face center, 2s facing each
other, 1s behind.
@ I thought it would be nice to do the push off of a “queen bee” hey
with one’s own partner. In this case, the #2 couple does a full hey,
passing right shoulders to start, while the #1 couple meets at the
center and pushes off backwards in little counterclockwise circles.
It helps to instruct the 1s to stand a little above the 2s while they
swing so they see them when they end and are ready for the handy-hand
allemande.
Worker Bee Hey #2 Martha Wild
Duple Improper September 24, 2006
A1 Do-si-do neighbor
Swing neighbor
A2 Four in line down the set
Turn as couples, come back up
B1 Face in, “Worker Bee” hey, 1s start^
B2 1s gypsy and swing
^ Worker bee hey is as described above.
I like version 1 because both 1s and 2s get a partner swing. This is
an easier version, but unequal.
Martha Wild
On Aug 21, 2011, at 9:00 AM, [email protected] wrote:
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Today's Topics:
1. Heys Where Partners Meet (John Sweeney)
2. Re: Callers Digest, Vol 84, Issue 15 (Tom Hinds)
3. Re: Heys Where Partners Meet (Luke Donev)
4. Re: 50% rule (Richard Hart)
----------------------------------------------------------------------
Message: 1
Date: Sun, 21 Aug 2011 12:32:23 +0100
From: "John Sweeney" <[email protected]>
To: <[email protected]>
Subject: [Callers] Heys Where Partners Meet
Message-ID: <21E3296A26AB4820B1BCF3FF5D672895@JohnT400>
Content-Type: text/plain; charset="us-ascii"
My wife and I like spinning off each other in Heys. But we very
rarely
meet in the middle of a Hey :-(
Flirtation Reel is a great example of a dance where you meet your
Partner in the middle of the Hey, but I can't find any other dances
where that happens.
Does anyone know of any other good dances where you meet your
Partner in
the middle of a Hey?
Thanks.
Happy dancing,
John
John Sweeney, Dancer, England [email protected] 01233 625 362 &
07802 940 574
http://www.contrafusion.co.uk <http://www.contrafusion.co.uk/> for
Dancing in Kent
------------------------------
Message: 2
Date: Sun, 21 Aug 2011 09:28:00 -0400
From: Tom Hinds <[email protected]>
To: [email protected]
Subject: Re: [Callers] Callers Digest, Vol 84, Issue 15
Message-ID: <[email protected]>
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
Jim
Although I can't answer your first question about keeping track of
all the dances, I can say something about what constitutes a new
dance. I remember Ted Sannella saying that a dance is new if it has
50% new or unique choreography. By his definition if 50% or more of
the dance is different than any other dance then it's a new dance.
If a dance has less than 50% it's a variation.
He didn't go into any more specifics and I wasn't wise enough to ask
any questions. But if you look at some of the old dances like
Petronella and Hull's victory, they have identical B parts and unique
A parts. The same applies to Chorus Jig and Rory O' More.
Squares can also follow this 50% rule. For example there are a
number of squares like Queen's Quadrille that have unique A parts
while the B part is circle left half, swing corner, promenade.
T
------------------------------
Message: 3
Date: Sun, 21 Aug 2011 09:59:54 -0400
From: Luke Donev <[email protected]>
To: "Caller's discussion list" <[email protected]>
Subject: Re: [Callers] Heys Where Partners Meet
Message-ID:
<CAFrKOZY9sQXDyCnd5RPtG=4fJVYUFGr+WZrSW=8-mpj1wea...@mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
John Sweeney <[email protected]> wrote:
Flirtation Reel is a great example of a dance where you meet your
Partner
in the middle of the Hey, but I can't find any other dances where
that
happens.
Hi John,
I think the structure of Flirtation Reel (*http://tinyurl.com/
3mlyrtm*)
highlights why it's uncommon. The down the hall of *A1* seems the
cleanest
way of setting up partners back to back at the start of a hey for
*A2*. The
*B1* neighbor swing flows well after the hey, which leaves you *B2*
to get a
partner swing and progression in.
There are ways to gain the choreographic latitude you'd need.
If you're willing to spread a hey across phrases (I've met folks
who detest
that) you could shorted the neighbor swing and still end the swing
on phrase
(as opposed to interrupting a swing half phrase, which is
unpopular). For
example:
*Restless Sunday Morning*
Improper
*A1*
2s half figure eight and a little more to face their partner in the
middle
of a line of four
2s start a hey for four passing partner by left
*A2*
finish hey for four, 2s have extra pass in middle
Neighbor swing on gent's home side*
B1*
Circle Left,
Partner swing *
B2*
Ladies chain across,
long lines forward and back
The *B*'s have a lot more freedom for the partner swing and
progression,
those are just some of what you could do.
If you're against splitting the hey, you could compress the
position results
of the line of four:
*After the Honeymoon*
Improper
start with the 1s between the 2s, facing neighbor
*A1*
Pass Neighbor by Right to start a hey
*A2*
Neighbor balance and swing
*B1*
Give and (men) take
Partner swing (gent's home side)
*B2*
Circle Left 3/4
Balance the ring
2s make an arch, 1s duck through and move down to between new 2s,
facing
out.
I think as a style point, I might teach the *B2*'s arch duck as the
1s drop
partner's hand and are somewhat hand-casted through the arch by
their 2s.
Without a few folks to play with it in my living room, I'm not sure
yet.
The *B1*'s give and take could be a Circle Left 3/4 for a simpler
dance, but
there's already a circle left in the dance, and I'm guessing this
wouldn't
be called in a situation where a give and take was problematic.
I can't say that these are *good* dances where you pass your
partner mid-set
in a hey; but they're dances. Thanks for the question that got my
brain
choreographing. Hopefully others chip in (especially if I accidentally
re-wrote someone's dance).
--
Luke Donev
[email protected]
------------------------------
Message: 4
Date: Sun, 21 Aug 2011 10:50:04 -0400
From: Richard Hart <[email protected]>
To: Caller's discussion list <[email protected]>
Subject: Re: [Callers] 50% rule
Message-ID: <[email protected]>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
There's one dance variation that I've recently noticed.
Recently, I've noticed that callers and dancers have slightly
changed some existing dances. In both cases that I remember (Trip
to Lambertville & Tica Tica Timing) a R&L over has been changed to
a promenade across. Rights and lefts do seem to be more difficult,
especially at bigger dances, and with a larger proportion of
beginners. The promenade does appear to make the dance smoother in
these cases.
Is it really true that right & lefts are becoming less popular in
large MUCDs? Are other dances being modified in this way now?
Rich Hart.
Tom Hinds remarked on 8/21/2011 9:28 AM:
Jim
Although I can't answer your first question about keeping track of
all the dances, I can say something about what constitutes a new
dance. I remember Ted Sannella saying that a dance is new if it
has 50% new or unique choreography. By his definition if 50% or
more of the dance is different than any other dance then it's a
new dance. If a dance has less than 50% it's a variation.
He didn't go into any more specifics and I wasn't wise enough to
ask any questions. But if you look at some of the old dances
like Petronella and Hull's victory, they have identical B parts
and unique A parts. The same applies to Chorus Jig and Rory O' More.
Squares can also follow this 50% rule. For example there are a
number of squares like Queen's Quadrille that have unique A parts
while the B part is circle left half, swing corner, promenade.
T
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End of Callers Digest, Vol 84, Issue 16
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