Thanks for your input. See comments below. -Don
On Mon, Mar 30, 2015 at 7:10 PM, Yoyo Zhou <[email protected]> wrote: > Don, it sounds like your zig-zag into 5/8 hey is a lot like a dance I > wrote last year with Lindsey Dono. > Nice to hear there's more that one dance appreciating this move. :) > However, your notes are insufficiently clear on this - until I saw > Aahz's email I did not realize yours has just about the same setup, > because it has a zig-zag-zig (because you didn't write the last zig > left to face N#3 into it). I'm not sure how much more clear I could have been, should you look back to the original: [A2]: (4,4) CIRCLE LEFT 1/2, Ladies lead P ZIG LEFT [past CURRENT Ns] (4) ZAG RIGHT [passing NEXT Ns, to face 3rd Ns] and SEPARATE from P "to face 3rd N(eighbor)s" > I think it's conventional for a zig to > refer to motion in one direction and zag to motion in the other, so > you need a zigzag to pass one neighbor. For example, see Rick Mohr's > notes on his dance Leave the Wine: > http://rickmohr.net/Contra/Dances.asp#LeaveTheWine > As mentioned in a prior post, I assert it appears there is no "convention" as regards Zig-Zags (I'd link to the prior thread on this, but the archives appear to have gone poof again). Reasonable people will apparently have different interpretations/language (does it always start with a "zig"? is the following move always a "zag"? is a zig always leftwards? how many beats?). This is an area to then be cautious of and provide sufficient detail so folks can clearly understand the intent. [snip] > > Ok, the actual question you posed: how do you teach this entry into > the hey? You face N3 and make sure they are the focus of attention. > Then, for teaching purposes, ladies take a step left, out of the set. > (Now everyone is in a clear position, though you might add, gents take > a step forward between your neighbors.) These gents pass left to start > a hey across, pass partner right, ladies pass left, etc. When you meet > your partner again, swing. > > Thanks. This looks much like the temporary wave approach but without the complication of taking and dropping hands - nice. > > Finally, some meta-commentary. The more new and unfamiliar pieces you > have in a dance, the harder it is for dancers to learn each one of > them, because they have more stuff to try to remember, and they are > more likely to end up confused and unconfident that they're doing the > right thing. End effects don't help matters. I believe you're correct > that you come in in A2 on the zig zag with ladies on the left, but > also you want to be crossed-over when you come in for A1. This is just > to say that this new transition would be easier for dancers to learn > in a simpler context, so if I were going to teach this hey, I would > teach it in a different dance. > Agree, I think. To be clear, I'd never consider having this be the first hey in a program at any regular dance - my question was more about how to teach this particular hey's entry, presumably following having set a firm foundation through another dance (something more like Centrifugal Hey, etc.). > > By the way, here's the dance I mentioned: > > Life Is Short; Dance Often > Lindsey Dono, Yoyo Zhou > November 11, 2014 > becket left > > A1: circle left 1; ladies chain to N1 > A2: mad robin around N1; circle right 1 > B1: (~4) with P, zag right, zig left to face N2; (~12) ~3/4 hey, gents > pass left > B2: P balance, swing > > (You come in from the ends in B1 with the lady on the left. > I was concerned about the timing of B1, of course, with the balance at > B2, but it worked really well in practice.) > > (P.S. In a Becket dance that ends this way, you get the benefit of > being able to start the teaching with a swing at home to identify > where to swing your partner.) > > Yoyo Zhou > > Thanks for sharing this!
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