"Hand cast" is definitely a thing I've heard, but only in the context of a 
couple down the middle and back and cast off (which was not at all unknown in 
the 80s when I started contra dancing (though more a feature of chestnut 
contras) , but hasn't turned up too much since.  In contra, the actives casting 
off was definitely something they did with the inactives.  You could do an 
eyes-only cast off or an arm around the waist cast off or a hand cast.) In any 
case, at the end of the cast off the actives had progressed and everybody was 
facing partner.

I think the hand cast tended to be 1s up the middle until between the 2s, who 
also face up and take the handy hand with the nearest 1.  2s backing up 
strongly as 1s go forward strongly, go 3/4 around until facing partner in 
progressed place.

The mechanics of a gate in English dance are pretty much the same - both people 
facing the same way, one moves as strongly back as the other forward around a 
pivot point at the hands.)  [It seems to be that back in the 80s there wasn't 
as much emphasis on the equality of the turns; one person could be a gatepost 
and pivot in place while the other more or less orbited around them.  That 
doesn't seem to be how it's taught now, so modern American English gates and 
contra hand casts are about the same.

In my personal idiolect, hand casts go with casting off, which implies somebody 
coming up the middle and symmetrical casting.  (The gates in "The Bishop" are 
360 degree hand casts, no question.)

Gates (in the 21st century) are more flexible.  You can have asymmetric gates 
(in improper formation circle left once round and neighbors gate around with 
the ladies going forward and the gents backing up (as in Madeira Dream or 
Woodshed, or in contra in Susan Kevra's "Circle of Love" ); you can describe 
the moment in Bellamira when the 1s proper lead down, turn alone, lead up and 
turn as couple to finish improper facing down as a gate but nobody's casting 
anywhere; the opening moments of "Come Let's Be Merry" (1s face up, take inside 
hand, gent backs round and lady forward) are gates, but I don't think they're 
hand casts.

So according to me, the hand cast is an instance of the class of gate turns 
limited to being a cast off with hands.  The class of gate turns includes many 
things that aren't hand casts.

If I'd been on the floor and you called the move you describe a hand cast, it 
would have taken me longer to understand it, but I wouldn't have tried to argue 
from the floor that you were calling it the wrong thing - that's just rude.  If 
I were calling it I would have called it a gate.

I seem recall Sarah vanNorstrand at BACDS American dance week calling a dance 
with a symmetrical turn of this class that maybe could have legitimately been 
callend a hand cast and she called it a gate, so your dancer and I are not the 
only ones with this opinion.

-- Alan

On 10/7/18 10:20 PM, Don Veino via Callers wrote:
You may have seen my "Feeling Gravity's Pull" which I posted at the end of the 
recent Mad Robin teaching thread.

In that dance, there's a move where partners are facing in side by side on the 
outside of the set (where the Gents have forward momentum and the Ladies 
neutral to backward momentum) and my intent was for them to rotate around their 
inside hand connection with the Gents going forward and Ladies backing up once 
around. (As opposed to the Gent walks a circle around the Lady.) So the net 
effect would be like a courtesy turn, in going around a central point between 
the dancers, just a little "wider."

I believe the correct term for this would be "Hand Cast" but I had a dancer who 
was adamant about it being a "Gate" in ECD so when I posted the dance that's 
the term I used. I've again done some googling and found no ready reference to 
a "Hand Cast" in ECD and only the slightest in a contra context, yet the term 
sticks in my mind.

What say ye? Is "Hand Cast" a thing and correct in this context?

Thanks,
Don



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