For Erik Weberg's explanation of the timing of the hey in
Joyride as he originally intended it and still prefers it,
see his comments at
http://www.kluberg.com/eriksdances.html#Joyride
Erik writes:
... I've recently been teaching this dance the way I initially
intended it; with the fifth change of the hey and then the
swing in the B1 part of the dance. I've found that as I get
better at teaching it, it has become easier to convince
dancers to suspend their hurry in getting to the next figure
during the A parts. As dancers relax into the flow they seem
to enjoy it more, and saving that last crossing by the gents
until the B1 seems to enhance the joy.
I think Erik's suggested timing is perfectly fine.
I also think I may now understand the variation that Lindsay is
suggesting. Lindsay, would the following be an accurate
description?
A2. Gents pull partners to gent's side and two-hand turn (cw),
ending with dancers lined up across the set thus:
M2> <W2 W1> <M1
[where top of set is at top of screen]. That is, women are
back to back in the middle, facing out and men are on the
outside facing in, all facing partners. (8 counts for all
that)
Partners start full hey for four by pulling past each
other by R shoulders out of the two-hand turn.
B1. Finish the hey. (16 counts altogether for the hey, ending
half-way through B2)
Partners swing (on M's original side of the set). (8)
If so, I agree with Alan that the action in A1 is interesting and
also that it's enough different from the distinctive transition
in Joyride that a dance incorporating it should have a different
name.
--Jim
