Hi Jim,
Thanks for the very interesting and unusual dance. I think it would need
to be reserved for a group of dancers in the right mind set. Now I can see the
context for Lady/Lord/Person of the Lake/Pond and why Chris mentions your dance
in his notes about "Oscar's Oddity."
I think I understand it, but I've got a few questions and comments
PERSON OF THE POND by Jim Saxe
Duple contra [Notice that it doesn't say "proper" or "improper".]
1&2. Balance and swing neighbor.
I'm assuming that this (same or opposite sex) swing should end with the 1s
below their 2s.
3&4. Actives balance and swing.
5. Actives go down the hall and turn alone.
6. Actives come up the hall and cast off, assisted by inactives.
7. Those now in second corner positions (i.e., the right hand
i.e. second corners as in ECD
person in each casting pair from phrase 4) chain (by right
Do you mean each casting pair from phrase 6?
The flow in this chain for the inactive person (who was the pivot
in the cast) seems a bit tricky, how do dancers handle this?
hands, of course) to partners and roll/swap to the left.
8. Those *now* in second corner positions (i.e., the other
two) chain (by right hands, of course).
This is my gender-bender variant of "Lady of the Lake," composed
Indeed it is, and mind-bender too :-)
The transition from phrase 7 to phrase 8 is a fine example of
a zesty transition (if zestily danced, of course). Since dancers
get to experience (at least on the way up the set) both being led
into the second chain and leading their partners into it, one
might hope that they will start trying to give at least as good a
ride as they're getting.
I'd love to try this sometime.
Phrases 7/8 seems like a nice combination. Do you envision dancing 7 in
eight beats and 8 in eight beats, or just smooth both over 16 beats?
I find phrase 7 (chain and roll away)) very interesting, as it's effect on
moving
the dancers is the same as a balance and petronella roll.
Cheers, Bill
