Exactly, Reed. That's one reason why I start from the ladies chain. That loop-around-the-ghost is the same move for the ladies as a courtesy turn -- only without the gent.
Dale On Thu, Feb 16, 2012 at 10:17 PM, Read Weaver <[email protected]> wrote: > I've sometimes taught this as the loop on the end includes passing a > ghost; e.g., right in the middle, left on the end, right with no one, left > on the end, right in the middle, left on the end, right with no one, and > you're home. It helps people get the timing right, and it helps the people > who are convinced that it just has to be right-left-right-left-right-** > left. > > --Read Weaver > Jamaica Plain, MA > http://lcfd.org > > > On Feb 16, 2012, at 12:12 PM, Martha Edwards wrote: > > Wonderful method, Dale! >> >> I would only like to add that I wish all of us would make a bigger deal >> out >> of making a BIG LOOP on the ends. When you think about it, you've got 4 >> counts to get across the set, and 4 counts to make the loop. That should >> give you an idea of the relative size that the loop should be... >> >> It's almost counter-intuitive that to make the hey faster (i.e., easier) >> you have to make the turnaround bigger, not smaller! >> >> M >> E >> >> On Wed, Feb 15, 2012 at 9:55 PM, Dale Wilson <[email protected]> >> wrote: >> >> When I teach a half Hey in an intro workshop I do it right after the >>> Ladies >>> Chain. I start by telling the women that they already know this next >>> move >>> and have them do the chain with no hands -- including walking around the >>> opposite gent. Then I tell the gents that they'll be following the same >>> path but not right behind the lady -- poeple will be passing in between. >>> >>> Once everybody gets the half hey -- usually pretty quickly -- I introduce >>> the full hey -- talking about taking your time on the loop at the ends >>> because that's usually a source of problems and confusion when someone >>> tries to start back in too soon. >>> >>> And of course I mention for the full hey, when all else fails, just get >>> back to where you started. >>> >>> Dale >>> >>> On Wed, Feb 15, 2012 at 9:14 PM, Hilton Baxter <[email protected] >>> >>>> wrote: >>>> >>> >>> Adding to Linda's good thoughts - >>>> >>>> For a full hey I usually point out that people should end up in their >>>> starting place, and if there are lots of newer dancers I may add "how >>>> you >>>> get there is just a detail, as long as you don't crash into anyone >>>> else." >>>> Folks often chuckle at that point, which I take as a good sign. But how >>>> >>> to >>> >>>> officially teach it? If most people are new I've done the first >>>> >>> walkthrough >>> >>>> with hands, as in Grand R & L, then without hands. >>>> >>>> One thing that confuses a lot of new folks is how to turn and re-enter >>>> on >>>> the other side. I've seem many people turn sharply back and collide. It >>>> sometimes helps to describe it as a LH U-turn (or RH U-turn as the case >>>> >>> may >>> >>>> be), or to suggest pretending that they're hooking their arm around an >>>> imaginary lamppost. Or pretend they are little airplanes and have to >>>> >>> "bank" >>> >>>> to turn. Most kids (and some adults) embrace being silly with the >>>> >>> airplane >>> >>>> idea, which makes the whole figure less intimidating. >>>> >>>> For a half hey, it helps to point out they'll be diagonally across from >>>> their staring place at the end (usually the same gender neighbor's >>>> spot). >>>> >>>> Hilton Baxter >>>> >>>> >>>> >>>> I agree with Tavi that heys don't have to be perceived as a difficult >>>>> move. I use them all the time with newer dancers, using the following >>>>> guidelines: >>>>> A full hey which occurs anywhere but in the B2 is easier, since the >>>>> dancers do not have to progress out of the hey >>>>> A hey which ends up with a B & S, or gypsy and S (either P or N) will >>>>> smooth over any tendency to get a bit lost. Great dances that are >>>>> perfect examples are: >>>>> The Carousel by Tom Hinds >>>>> Flirtation Reel by Tony Parkes >>>>> There are many others! >>>>> Sometimes using a dance that introduces a half hey is a great way to >>>>> get folks ready for a full hey later on in the evening. >>>>> These dances add variety. >>>>> >>>>> One other quick point that I thought about when Emily first posted, >>>>> but did not share at the time: I use four in line down the hall quite >>>>> a bit with new dancers. I have never found that it caused confusion >>>>> about location in space/the dance. Quite the contrary, it gives folks >>>>> encouragement to move to the music in a quite natural way, and is >>>>> another move that adds variety. I can understand avoiding these dances >>>>> because of space constraints. However, four in line down the hall to a >>>>> great march makes for wonderful dancing. >>>>> >>>>> Cheers! Linda >>>>> >>>> >>>> >>>> ______________________________**_________________ >>>> Callers mailing list >>>> [email protected] >>>> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> >>>> >>>> >>> >>> >>> -- >>> *So if you knew what was broken...how long would it take you to fix it?* >>> ______________________________**_________________ >>> Callers mailing list >>> [email protected] >>> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> >>> >>> >> >> >> -- >> As you set out for Ithaka, pray that your journey be long, full of >> adventure, full of discovery... >> May there be many summer mornings when, with what pleasure, with what joy, >> you enter harbors you're seeing for the first time. >> ~Constantine Cavafy, "Ithaka" 1911 >> ______________________________**_________________ >> Callers mailing list >> [email protected] >> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> >> > > ______________________________**_________________ > Callers mailing list > [email protected] > http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> > -- *So if you knew what was broken...how long would it take you to fix it?*
