believe it or not, I like to use Lady of the Lake (or Haymakers Jig) to point out the tight timing thing.
A1 B&S Neighbor A2 actives B&S trying to get the 1's to hit that balance on time in A2 takes a little talking ahead of time.. and I often say "this dance isn't as easy as it looks".. That said, Rick, you probably don't need to "recollect" this one. hee hee.. bill ________________________________ From: Callers <callers-boun...@lists.sharedweight.net> on behalf of Rick Mohr via Callers <callers@lists.sharedweight.net> Sent: Thursday, February 1, 2018 3:26 PM To: call...@sharedweight.net Subject: [Callers] Good dances with challenging timing Some dances require skill to make the timing work — like starting a figure with dispatch so a later balance will be on time, or doing a figure leisurely to avoid being early for the next one. But while many dancers have the awareness to make things like that work, many dancers don’t. Since there are plenty of fantastic dances without such challenges I tend not to call dances which have them. But I’ve also found that such dances are great when I’m asked to lead a workshop helping dancers improve their skills. Longtime dancers aren't eager to change their habits, and having something concrete like making a balance on time adds motivation, ideally opening a window where learning is possible. Unfortunately though I've discarded or passed on collecting most such dances! Have any suggestions of good/great dances where the timing is tight or loose in spots? One of mine in that category is Crow Flight (http://rickmohr.net/Contra/Dances.asp#CrowFlight<https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Frickmohr.net%2FContra%2FDances.asp%23CrowFlight&data=02%7C01%7C%7Ca5270305147849b216f908d569883c79%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636530956204805824&sdata=3%2Bk6XbRu%2B4FaegaYyC2uGko7A4YjhvdEKKn4HHMC%2FFM%3D&reserved=0>). Learning opportunities include gents flowing from swing to circle (common with aware dancers but a revelation to some), ladies moving efficiently from circle to hey, and doing a hey with two steps per pass (possibly realizing the difference between a 3-change and 4-change half hey). Thanks for any ideas! Rick
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