Actually, I have rarely ever experienced Hull’s Victory done correctly and on time. Martha
> On Feb 2, 2018, at 11:58 AM, Yoyo Zhou via Callers > <[email protected]> wrote: > > On Thu, Feb 1, 2018 at 7:26 AM, Rick Mohr via Callers > <[email protected] <mailto:[email protected]>> > wrote: > 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 > <http://rickmohr.net/Contra/Dances.asp#CrowFlight>). 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! > > Some classics I think fit in this category: > > The Baby Rose by David Kaynor - lots of time to circle left 3/4 and do si do > before a balance. > > String of Swings by Rick Mohr and Bob Isaacs - ending swings on time can be > challenging for some dancers; there's nothing like the dissatisfaction of > waiting for somebody to let go of the person you're supposed to swing next. > > Joyride by Erik Weberg (with slow tempo) - especially as the author wrote it, > with the last pass of the hey at the beginning of B1; many dancers aren't > used to taking 8 counts for the more loosely timed figures in the A part. > > Judah Jig by Charlie Fenton (with fast tempo) - dancers have to get all the > way around twice in B1 (circling left and right hand star) to make the ladies > chain go across the set. > > Yoyo Zhou > > _______________________________________________ > List Name: Callers mailing list > List Address: [email protected] > Archives: https://www.mail-archive.com/[email protected]/
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