Actually, I have rarely ever experienced Hull’s Victory done correctly and on
> On Feb 2, 2018, at 11:58 AM, Yoyo Zhou via Callers
> <email@example.com> wrote:
> On Thu, Feb 1, 2018 at 7:26 AM, Rick Mohr via Callers
> <firstname.lastname@example.org <mailto:email@example.com>>
> 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>). 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
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