I feel lucky that in our area these dances are occasionally part of a
standard "social dance" program (from whence they originally came). While I
can no longer claim to be a new dancer, when I was one I got exposed to
these dances and it opened my dance horizons, enough so that I wanted to
seek out opportunities to learn more about them at a more focused workshop
(which David does so well).

British Sorrow IMO is an example of a very fun dance that shows its age
well and is very accessible. Chorus Jig is done in at least one dance
community near me as a weekly feature. My wife was originally not fond of
Money Musk, until she got a chance to dance it with a great partner at
Ralph Page/UNH and "got it". It became such a favorite for her that I
taught myself to do a singing call of it for her as a gift at our
post-wedding dance party.

I enjoy getting a chance to dance these alongside the latest hot new DI
dance in our area dances.

-Don

On Mon, May 7, 2012 at 12:42 PM, Greg McKenzie <[email protected]> wrote:

>  Dave wrote:
>
> > Sure, there are times at festivals where callers might program a
> > particular theme and
> >
> discuss dance history, or experienced dances where callers might teach
> > complex dance figures, but these are not the open, public dances that
> > you're talking about.
> >
>
> I'm glad we are in agreement on this.  Keeping the program appropriate for
> the venue was the main point I was making.
>
> Dave then wrote:
>
> > Fostering musical and dance traditions does not come at the cost of
> > accessbility.  I don't see how doing so takes away from the "central
> > purpose" of having a fun evening.
> >
>
> Good point.  It doesn't necessarily conflict.  It's a matter of being aware
> of the purpose of the event.
>
> Incidentally, I have not heard David Millstone call, so I would not presume
> to comment on his conduct of an open public contra dance.  I'm sure David's
> cultural enrichment is all very appropriate for an open, public event.
>
> - Greg
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