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 
> <callers@lists.sharedweight.net> wrote:
> 
> On Thu, Feb 1, 2018 at 7:26 AM, Rick Mohr via Callers 
> <callers@lists.sharedweight.net <mailto:callers@lists.sharedweight.net>> 
> 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
> 
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