Hi Don,
I think that the default definition now is that the pivot point
is at the joined hands, but diverse choreography means that it can be anywhere
in order to achieve the desired effect.
For example in Bob Isaacs’ March of the Triplets, the second pair
of Gates have to move sideways while rotating, to make room for another couple
to fit in line between the two Gates.
It is often worth clarifying who is doing the Gating and what the
destination is.
I agree that choreography interpretation can be a challenge. I
have never understood dances like Devil’s Dream and Beaux/Boys of Oakhill where
the dance finishes with a Right & Left Through, so that the couples are in
line, but starts with a completely different configuration. All the dancers
have to move from lines into a new position in zero time.
I strongly suspect that dances like this were originally Two
Changes of Rights & Lefts; the dancers could use the final Pull By Left to get
to their new position. The addition of the Courtesy Turn really messes the
choreography up. Or maybe it was just lousy choreography :-)
Happy dancing,
John
John Sweeney, Dancer, England [email protected] 01233 625 362 & 07802 940
574
http://www.modernjive.com for Modern Jive Events & DVDs
http://www.contrafusion.co.uk for Dancing in Kent
From: Callers <[email protected]> On Behalf Of Don Veino
via Callers
Sent: 13 October 2018 22:53
To: Caller's discussion list <[email protected]>
Subject: Re: [Callers] Gate vs Hand Cast
Thanks for all the replies and details! I only have one of Larry's books, mine
(G&T if I recall correctly) has just a supplemental glossary.
I was stuck on the idea of a gate having a person serving as a post, now I
understand the definition has gone to a shared/equal move. Gate it is.
I don't have any examples at hand, but such a change in meaning/practice
(around a person - > around a pair's center) could impact the feeling of prior
choreography. I think I read something recently where an argument was being
made that modern folks approaching traditional material with current move
interpretation may be causing them to not flow as well as they did with
contemporary interpretation, negatively coloring dancer reception of the
material.
-Don
_______________________________________________
List Name: Callers mailing list
List Address: [email protected]
Archives: https://www.mail-archive.com/[email protected]/
