Hi, Luke,

Great new ideas on 4X4 choreography!  In regards to the "Tamlin's Cross," I
think the rollaway-swing transition in A1 would feel less than ideal, or
even awkward because the direction of the rollaway is counter to the
direction of the swing.

I love that transition when the gent is sashaying left and passing a dancer
in the lady role from the gent's left hand to gent's right hand right, then
the gent can catch the other dancer in the lady role in a swing (as in
"Rollin' with Rhode" by Jim Hemphill, "Rollaway Sue" by Bob Isaacs, "Luna
in the Library" by Ron Blechner,""Roll Twelve" by Chris Page, and "Into the
DMZ" by Cary Ravitz, among others).  I fear that the rollaway-swing
transition as it is written in "Tamlin's Crossing" wouldn't be as
satisfying as int he dances I listed.

Thank you for your innovations and I look forward to seeing more!

Dugan Murphy
Portland, Maine
dugan at duganmurphy.com

> Date: Wed, 4 Apr 2018 12:16:42 -0400
> From: Luke Donforth <luke.do...@gmail.com>
> Subject: Re: [Callers] New (?) 4x4 contra
> Thanks all for the feedback! I'll reach out to Erik and Nils.
> As Rick pointed out, the dance could work from standard 4x4 lines; and I
> certainly wouldn't object to folks dancing it that way. In my head, the
> half grand hey precludes this from many dance events, so I figured dancers
> I could toss this at would probably not be thrown by the bent formation.
> But keeping the non-hook moves simple is worthwhile.
> I haven't done a Dutch Crossing workshop, although I've been meaning to.
> Nice to see Lisa getting everyone through it, thank you for the link; and
> the reminder to learn Dutch Crossing.
> Colin, I don't remember the last time I got to call a 48 bar dance. But if
> I get a band itching to play one, now I've got some things in the quiver.
> Jim, I'll admit Heymania is intimidating to me. I like the fixed timing of
> contra, the squishyness of squares is a challenge for me. I'd have to work
> up to that one with some simpler non-musically-square squares.
> As for this dance, dropping the balance before the partner swing and
> letting the hey flow into B2 seems the simplest and most forgiving way of
> handling the timing. I like the idea of the reunion moment being marked in
> time though, so that partners know when they're supposed to find each
> other. You could give the hey more time in B1 at the expense of some of the
> neighbor swing. What about the following variation, informed by Chris's
> comments on timing?
> Tamlin's Cross (variation)
> 4x4 (lines or bent)
> A1
> (4) All 8 go into the middle
> (4) Gents roll partners away on the way out
> (8) Corner Swing, square set
> A2
> (8) Gents left hands across star 1x; gents drop out
> (8) Ladies left hands across star 1x;
> ladies keep hands, and take right hand with corner (making crossed wavy
> lines of 4)
> B1
> (4) Balance the wavy lines of four
> (12) half grand hey, start passing corner you swung by right
> then turn away from corner you swung
> B2
> (16) Partner Balance and Swing
> End the swing facing new couple, having swapped sides with your trail-buddy
> couple
> That gives both roles the muscle memory of a left hand star in the middle
> as prep for the handless-star in the hey; which could either be helpful or
> monotonous.
> <digression>
> I wouldn't usually chase a left hand star with a left hand star, but I
> think left will flow better for the gents out of a swing; and I want the
> corners to take right hands (because getting folks to balance left then
> right seems impossible outside of Rory o'More). The two left hand stars
> would also leave some room for silliness on the part of the dancers.
> A2 could be ladies right hand star, then gents left; but I'm not super fond
> of the swing->ladies go in transition. It happens a lot in swing->chain,
> but I don't think it would add to the dance here.
> </digression>
> Thanks again for sharing your experience :-)
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