There are different reasons that people contra dance. I'm pretty sure that for some, it really is about the flourishes, and the flirtiness thereof, and therefore it's more important to them than being on time. Unless they are actually causing the set to fall apart, I'm not sure this is per se a problem, nor if so what the solution would be without discouraging some people from coming to the dance.
It seems to me that being too strict about the dancing leads to situations like we had several years ago locally, where a bunch of dancers who had been dancing at a particular location for many years were offended by all the wacky stuff the “young people” were doing. This is part of why, to this day, there is still a strong separation of who dances in which lines. The challenge for organizers and callers is really to make the dance welcoming to a variety of people, even though those people may want somewhat different things from the dance. On Tue, Feb 7, 2012 at 15:08, George Mercer <[email protected]> wrote: > I love a good star promenade and butterfly whirl, but there are inherent > issues that crop up at almost every dance. First and foremost is the > experienced dancers who are too busy doing their "flourishes" to actually > do the appropriate move (and are thereby teaching inexperienced dancers > that the flourish is more important and more fun than the actual move) or > to do it at the appropriate time and who just flat out don't understand how > important it is to help the other dancers. Callers are also part of the > problem. They almost never teach dancers that there is very little > waiting/standing in a contra or square dance, even if someone else is doing > the move [Think of baseball fielders beginning to move as the pitcher is > making the release...even though they have no diea wher the ball is going > to be hit]. As to the star promenade/butterfly whirl, the non-allemander > (now there's a word) should be moving before the person he/she is going to > promenade with gets there. This happens on other moves as well--think of > all the 20 beat heys you've encountered. We should also consider > counseling new/inexperienced dancers that the music will help them to know > when to terminate a move and begin the next, and that stopping early is > almost always better than stopping late. I mentioned this at a dance > recently where I was calling and some of the dancers applauded. Callers can > also help by making the call before the move, which we all know we should > be doing anyway (though we all sometimes fail to do). It also very rare > that I hear a caller/instructor remind dancers that if they are late for or > actually miss a move not to worry, but if at all possible to get on to the > next move in time. > > On Mon, Feb 6, 2012 at 9:29 PM, Bob Green <[email protected]> wrote: > >> > All that's a long build-up to: Anybody got hints for briefly and >> > effectively >> > teaching a *good* star promenade? (Not just the geography - that's easy >> > enough >> > - but the dynamics that make it satisfying.) >> > >> > Thanks, >> > >> > -- Alan >> > >> > >> > - >> > >> Let me look at some of the "Boot Heel Boys" raw video. Jim & John both like >> to sprinkle star promenades into their dances, and particularly when Jim is >> calling, I seem to remember them almost always feeling pretty good. Here >> are some edited ones, but they don't help much with your real question: >> >> http://www.youtube.com/watch?v=nFz4U3Y3OEM&feature=player_embedded#! >> >> http://dancevideos.childgrove.org/contra/contra-modern/193-caveman.html >> >> >> Bob >> _______________________________________________ >> Callers mailing list >> [email protected] >> http://www.sharedweight.net/mailman/listinfo/callers >> > _______________________________________________ > Callers mailing list > [email protected] > http://www.sharedweight.net/mailman/listinfo/callers
