Re: [Callers] dances with down-the-halls

[Aahz Maruch]

On Tue, Sep 03, 2013, JD Erskine at Island Dance wrote:
>
> I stumbled some time ago on to Henri's site, chewing through the
> essays for thoughts on event programming
> http://www.henryandjacqui.com/Essays/Prepare.htm

Thanks!  This looks really helpful!
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

Re: [Callers] Dances with Down-the-Halls

[John Sweeney]

Hi Kalia,
Yes, you are absolutely right.  Although the direction of movement
in the Gay Gordons is the same as in a contra Dublin Bay, the synchronised
turn in the same direction in the Gay Gordson means that you don't get to
smile at your partner as you turn.

The move in La Chapelloise is identical in all respects to the
contra Dublin Bay (just two people instead of two pairs of people).

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] dances with down-the-halls

[Erik Hoffman]

Hi All,

I've written several dances with variants of the Down the Hall business:

*Curly Cues*

Improper

Erik Hoffman

A1   Ones Split Twos (Twos moving up), with Next Couple Mirror Gypsy, 
Ones heading Out - Twos in Center, Ones come Up the Outside past first 
Twos (twos moving back down), Ones Cross All the Way Over to end of Line 
with First Twos (WWMM, Ones on the ends, Twos in the center)



A2   Down Center Four in Line (4), Fold Line, Twos Back Out to Reform 
Line (still WWMM, now Ones in center) (4), Ret (4), Hand Cast (4)



B1   Ones turn Contra Corners


B2   Ones Balance & Swing, end facing down.

An Alternate, simpler A1: Ones Down the Center past Two, Up the 
outside to Place, Cross to Line as above.  In this version, the Twos can 
steal a Swing, end facing up, just in time to assist their Same-Sex 
Neighbor into the WWomenM line.


And, I know, with the modern rage of alternating corners, this can 
be done as an alternating corners dance, but I prefer it as an "Actives 
& Inactives" dance.



Curly Cues is my variant of Chorus Jig...

==

The next has what I call "The Big U Turn."  I think Tony Parkes wrote a 
dance with The Big U Turn in it, too.


*Train of Thought*

Improper

Erik Hoffman May 29, 1992

A1   Allemande Left Neighbor 1½;  Half Hey, Women start, Right shoulder 
(actually, 3/8: WR, PL, MR)



A2   (coming out of the Hey, form a Circle, Men backing out to put 
Partner in Left)  Circle Left ¾;  Swing Partner



B1   Down Hall 4 in Line, with a Big U-Turn (four steps down, fold line 
to face Acorss, Pass Thru, fold to face up - reforming line)



B2   Women Allemande Right 1½;  Swing Neighbor

Written on a train to San Diego, while thinking about the dance, 
"The Bluemont Reel."





There are several dances with the "Right Hand High, Left Hand Low" 
idea.  If I recall correctly, Don Flagherty wrote one with three people 
doing  the trad Right Hand High, Left Low, with one person turning 
alone.  This one has four people doing the Right Hand High, Left Hand 
Low, with the center couple "acting as a unit":


*Emily and Jerry Tie the Knot*

Improper

Erik Hoffman June 17, '89 & May 16, '00

A1   Balance& Swing Neighbor

A2   Down Hall Four in Line, with the Centers acting as a "Unit," Right 
Hand High, Left Hand Low, and invert the line, Return, Fold Line


B1   Circle Left ¾;  Swing Partner

B2   Half Promenade;  Circle Left ¾, Twos Arch and Pop the Ones Thru

In the original, after folding the line it was:
B1  All Box Gnat with Partner, All Swing Partner in Center (Ones 
above the Twos), ending facing up and down (Facing the couple you've 
been dancing with).

B2  Circle Left (once), Balance the Ring, Twos Arch, Ones Pop Thru.


==

OK, the next doesn't have a down hall four in line, but three do go 
down while one goes up, and, since the holiday season is getting closer, 
it does have a "We Three Kings" story line, and is designed to go with 
the tune "We Three Kings" played as a straight jig...:


*Follow That Star*

Improper

Erik Hoffman

A1   with New Neighbors: Star Left;  with Old Neighbors: Star Right (if 
you want to make it easy, have the initial minor sets do a left & right 
star, without the neighbor Switching)


A2   Ones take Number Two Man Down Hall in Line of Three WHILE Number 
Two Women come up the hall single file, Turn Alone, Return, Line of 
Three Folds into a Circle around Number Two Women


B1   Circle Three around Number Two Women;  Swing Neighbor on "Own" Side

B2   Long Lines Forward   All Swing Partners (or just Ones if 
space is tight)


After the (A1) Stars, Three "Kings" follow them on a journey to 
find a (B1) Babe in a Manger.  Then (B2) Everyone Celebrates!  To be 
danced to "We Three Kings" straightened out and as a Jig.



==


I never liked the Dublin Bay variant where you did the down the 
hall, back up going down, come up the hall, turn to back up, going up 
the hall, then fold into a circle.  That folding into a circle from 
backing up never felt good to me.  So I made up one that did something else:




*Happy Birthday, Susan*
Becket

Erik Hoffman


A1  Women "Chain the line"
  (Women Allemande R ¾, then to next Women,
  those Women Allemande Left ¾ to meet Neighbor
  on the Right diagonal -- across from a Shadow);
  Swing Neighbor


A2  Long Lines Forward  Women Chain to Shadow


B1  Dublin Bay (variant) Down Hall 4 in Line (4), turn alone to back up 
-- down hall (4);  Come up hall (4), turn alone to back up the hall (4), 
ends loop back (turning alone, away from the lines) WHILE centers step 
forward to:



B2  Partner Balance & Swing


Note where partner is in B1: if you're in the center of the line of 
4, your partner is on the end of the line in front of you.  If you're on 
the ends of the line, your partner is behind you.


Given to Susan Petrick on her birthday, while on tour with the 

Re: [Callers] dances with down-the-halls

[JD Erskine at Island Dance]

On 29/Aug/13 13:58, JoLaine Jones-Pokorney wrote:

Hi Everyone - Many of our easier dances include down-the-halls, but there
are so many ways to come back up!  There's turn alone, and turn as a couple
of course, but there's also sliding doors, right-hand-high-left-hand-low,
loop-de-loop, cloverleaf.  What are your favorite dances that include an
unusual down-the-hall? I've thought of putting together a program that
highlights all the different ways to go down the hall.  I think there is a
wide enough variety in these dances that it could be doable without boring
the dancers.
JoLaine


There's a fun return move variously called Come Back Cozy, Cozy Line, 
Turn Cozy. It's in one of the dances John S. mentioned.


Foot of
https://en.wikipedia.org/wiki/Contra_dance_choreography

I stumbled some time ago on to Henri's site, chewing through the essays 
for thoughts on event programming

http://www.henryandjacqui.com/Essays/Prepare.htm
and have sometimes used Bob Dalsemer's The Dog Branch Reel as he states 
he does. Looking for dance directions for it I came upon William 
Watson's published variants, Dog Branch Reel Variation 1 & 2 which 
utilise this move. http://www.quiteapair.us/calling/compositions.html


Mention was made of the American Country Dances On-Line, compiled by 
Russell Owen, snap shot and indexing by William. Two versions are here

http://www.quiteapair.us/calling/acdol/
(sortable columns!)
and the single page version at
http://www.quiteapair.us/calling/ACDOL.html
The latter allows for an easy on-page search for "cozy" and a number of 
dances there use it.


Cheers, John
--
J.D. Erskine
Victoria, BC
Skype:
island.dance

Island Dance - Folk & Country
dance info - site & mail list
http://members.shaw.ca/island.dance/

Re: [Callers] Dances with Down-the-Halls

[Kalia Kliban]

On 9/3/2013 12:00 PM, John Sweeney wrote:

Hi Kalia, you said, " It's that turn in the middle of the line of 4's travel
that I was comparing to Dublin Bay."

Yes, I understand completely.  This is not the first time I have seen the
"down the hall, turn, go backwards" called Dublin Bay by contra dancers.

I suspect that in England we would be much more likely to say, " as in The
Gay Gordons" or " as in La Chapelloise"


Do I remember correctly that in Gay Gordons the 2 dancers turn over the 
same shoulder?  It's interesting how differently we think about these 
moves.  The distinctive thing about the "Dublin Bay" move for me is the 
moment of transition from _leading_ down (or up) to _backing_ down (or 
up), making it a long travel in one direction interrupted by a change of 
face, and I really enjoy turning toward the person I'm traveling with. 
So that would make the Dublin Bay move quite distinct from the Gay 
Gordons, despite their strong similarity in other ways.  The Gay Gordons 
parallel turn is also really cool, but in a very different way.  And for 
someone who doesn't do this sort of dancing at all, they'd all look 
pretty much the same :>)  I love how such small distinctions can make 
such a huge difference to how something feels.


Kalia

Re: [Callers] Dances with Down-the-Halls

[John Sweeney]

Hi Kalia, you said, " It's that turn in the middle of the line of 4's travel
that I was comparing to Dublin Bay."

Yes, I understand completely.  This is not the first time I have seen the
"down the hall, turn, go backwards" called Dublin Bay by contra dancers.

I suspect that in England we would be much more likely to say, " as in The
Gay Gordons" or " as in La Chapelloise"
(http://www.webfeet.org/eceilidh/dances/la-chapelloise.html).  Although
those dances are in twos rather than in fours, the movement is: forwards,
turn, backwards, forwards, turn, backwards.  I.e identical to the contra
version of "Dublin Bay".  Whereas the original Dublin Bay move was:
backwards, forwards, turn, backwards, forwards.

As has happened so many times across so many dance styles, a nice move gets
incorporated into a new dance, changes over time (or even initially),  but
still retains the reference to the old dance.

I called a dance with an "original" Dublin Bay move last night to a group
who are used to going down the hall; in the line of eight, one end went
backwards, the other end went forwards and the ones in the middle looked
confused.  I was laughing so much I completely stopped calling, which didn't
help!

This is one of those little things that drives dance historians/researchers
crazy - the words you are reading may not have the same meaning to you as
they did to the author.  And don't get me started on what a dosido is! :-)

>From "Through the Looking Glass": 
'When I use a word,' Humpty Dumpty said, in rather a scornful tone, 'it
means just what I choose it to mean - neither more nor less.'
:-)

Which is what calling is all about - making sure that the dancers know what
we actually mean, regardless of how we say it.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Dances with Down-the-Halls

[Kalia Kliban]

On 8/31/2013 4:43 AM, John Sweeney wrote:

The references to Dublin Bay are slightly inaccurate.  The original dance -
see http://www.folkdance.com/LDNotations/DublinBay2000LD.pdf - contains:
Line of four facing down the hall:
Fall back four steps (heading backwards up the hall), go forward four steps,
turn alone to face up the hall; fall back four steps, go forward four steps.

Don't you just love the folk process?  :-)


It's that turn in the middle of the line of 4's travel that I was 
comparing to Dublin Bay.  It's a lovely whooshy movement that shows up 
occasionally in ECD but rarely in contras.  Yes, the context isn't 
identical, but the movement, flipping from facing one to the other, is.


Kalia

Re: [Callers] Dances with Down-the-Halls

[John Sweeney]

JoLaine asked, "Many of our easier dances include down-the-halls, but there
are so many ways to come back up!  There's turn alone, and turn as a couple
of course, but there's also sliding doors, right-hand-high-left-hand-low,
loop-de-loop, cloverleaf.  What are your favorite dances that include an
unusual down-the-hall?".

= = = = = = = = = = = = = = = 

The references to Dublin Bay are slightly inaccurate.  The original dance -
see http://www.folkdance.com/LDNotations/DublinBay2000LD.pdf - contains:
Line of four facing down the hall:
Fall back four steps (heading backwards up the hall), go forward four steps,
turn alone to face up the hall; fall back four steps, go forward four steps.

Don't you just love the folk process?  :-)

How about someone writing an nice new contra based on the original Dublin
Bay, and actually using the Dublin Bay up and down the hall moves?
Note: the original tune has a 14 bar A-music and a 10 bar B-music!

= = = = = = = = = = = = = = = = 

Here are some of the ways I know to turn and come back (many of them
mentioned already) and some dances that use them.  Please let me know if you
want me to post any of the dances in full.

Down the Hall in Lines of Four; Don't Turn!
Backwards up the hall; middles arch; ends duck through to face new couple
Fairfield Fancy by Dick Forscher
Jefferson & Liberty
Steamboat - traditional with stepping

One challenge with these dances is that the sets tend to move down the hall
since those making the arches tend not to move back as far as they should.
One solution is:
Tecumseh by Dillon Bustin
Lines of Four Go Down the Hall (4); Lines of Four Fall Back (4)
#1s Arch, #2s go through the Arch

= = = = = 

Dixie Twirl
Just Skylarking by Rhodri Davies
Plough & Harrow by Roger Whynot

= = = = =

Down the Hall in Lines of Four - just #1s (in the middle) drop hands - #2s
Hand Cast/Gate #1s (#2s in middle now); Up the Hall
Jeff's Gypsy by Paul Wilde

= = = = =

Up the Hall in Lines of Four; Ends Gate the Middles
Fiddleheads by Ted Sanella
Walk the Chalk Line by John Chapman
A Truly Remarkable Total by Rhodri Davies
Shadrack's Delight by Tony Parkes

= = = = =

Man on Left end Turn Alone - Ladies trade places as the Man between them
does "right hand high, left hand low"
Love Sting by Rick Mohr
Love at First Swing by Bob Isaacs

One twist on this is to swing before coming back:
Down the Hall in Lines of Four;  End Man Turn Alone WHILE Middle Man does
Left Hand High, Right Hand Low: Draw Right-Hand Lady under arch and let her
go, Draw Left-Hand Lady into a Swing
Partner Swing - finish facing Up the Hall; Up the Hall in Lines of Four
Ants Marching by Ron T Blechner

= = = = =

Down the Hall in Lines of Four (4); Tag the Line (4)
Each dancer turns to face the center of the line. Taking a short side step
to the left, each dancer walks forward passing right shoulders with oncoming
dancers until he has walked past all of the dancers from the other half of
the line
Tag the Line by Bob Dalsemer

= = = = =

Down the Hall in Lines of Four - KEEP HOLD: #1s turn away from each other &
back under their joined hands, #2s turn in - all face up
Up the Hall in a "Cozy Line" - #2s can join hands behind the line as they
lead back (or make a Triumph-style arch and bring their hands over the #1s)
- form a cloverleaf by #2s joining hands above the #1s' hands
Symmetrical Force by Fred Field

= = = = =

MMLL: Down the Hall in  Lines of Four, Turn as (same-sex) Couples: fold the
line (momentary circle), #1s join hands, unfold to a Line of Four facing Up
the Hall, #1s in the middle
Up the Hall in Lines of Four, #2s Gate #1s to Long Lines
Curly Cues (by Erik Hoffman)

= = = = =

Do you ever dance Triplets (three couple sets) at your dances?  If so try:
March of the Triplets (by Bob Isaacs)
#3s Gate #1s Down & all the way to face Down WHILE #2s 
Lead Down - form a Line of Six facing Down
Down the Hall in Lines of Six, Turn Alone

= = = = =

A different way to get into a line of four:

Half a Slice by Bob Isaacs
Half a Slice on Left Diagonal to a Line of Four Facing Down

Half a Slice: As a couple, go forward towards each other on the diagonal.
The top two dancers join hands; the bottom two push off to make a line of
four facing down.  This is an efficient way to get everyone progressed and
facing down in 8 beats, so there is time for creative or dramatic push-offs.

= = = = =

And here is a dance based on the "Half a Slice" idea, with yet another way
of getting into lines of four:

The Pattern Unfolds by John Sweeney
Becket (CW)
A1: Balance the Ring; Ladies Cross by the Left (Lady coming Up makes an
Arch) - look for a New Neighbour - Men turn to a new Circle as well
Balance the New Ring x 2 - on the second Unfold into a Line of Four
Facing Down
A2: Down the Hall in Lines of Four
Neighbour Swing - finish facing across
B1: Balance the Ring x 2 - on the second Unfold into a Line of Four
Facing Up
Up the Hall in Lines of Four - Bend the Line
B2: 

Re: [Callers] dances with down-the-halls

[Woody Lane]

On 8/30/2013 10:22 AM, James Saxe wrote:

One of my favorite dances with an unusual transition between going
down the hall and coming back up is "Brimmer and May Reel" by Dan
Pearl:

Duple improper
A1. Neighbors balance and swing.
A2. Right and left through (across only)
1's swing and face down
B1. Down the hall four in line (1's between the 2's) (4 steps)
1's California twirl (4)
Neighbors allemande with handy hand twice around (M1 & W2
by left, W1 & M2 by right) (8)
B2. Up the hall two-by-two, 1's leading the 2's (4)
1's cast unassisted to 2nd place while 2's continue up into
1st place and turn alone (towards each other) (4)
Circle left 1/2 (4)
Pass through along the line to meet new neighbors (4)

Dan's original version had the A1 and A2 as

A1. Neighbors swing (8)
Right and left through (8)
A2. 1's balance and swing

but I believe he now prefers (as I do) to start with a long neighbor
swing, ending at the end of the phrase instead of in the middle.

I'm not sure what Dan's current preference is about the balance in
A1.  Some callers omit it out of deference to dancers who are late
finishing the B2.  I think that including it rewards good timing.
I also think it shouldn't be a scramble (for dancers in decent
physical condition) to finish the B2 in time.  However, timely
calls can be crucial, especially in the first few rounds of the
dance.  If you allow the dancers to go down the hall four steps
before you begin calling the California twirl, then they'll get a
late start and may not be able to catch up during the entire rest
of the B part.

--Jim


"Brimmer and May Reel" is one of my favorite dances also. But when I 
call it, I omit the balance in A1, although I agree with Jim's nuanced 
analysis. In regular community dances, I found that there are enough 
slower dancers (regardless of the timing of the calls) that they are 
generally late in coming out of the quick B2 movements, so walking 
straight into a long swing is kind of an anchor point for them and the 
rest of the line. Which helps propel the dance successfully even though 
some folks may be late. In contrast, if there was a balance at the top 
of A1 so that some folks were trying to do it, but were late, then their 
movements wouldn't fit the music nicely and could actually be a bit 
jarring to the dancers.


At a community dance, omitting the balance in A1 seems to make sense, at 
least to me. But at a dance camp or equivalent, where most of the 
dancers are quite good, then that balance at the top of A1 would indeed 
be rewarding, as Jim indicates. Especially if the band was playing a 
tune that emphasized the downbeat at that point. After the swirling 
quick movements in B2, the dead-stop of the balance, right on the music, 
would be heaven.


Which kind of underscores how forgiving and robust and good this dance 
really is.


Woody

--
<><><><><><><><><><><><><><><><><><>
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
voice: 541-440-1926 cell: 541-556-0054
<><><><><><><><><><><><><><><><><><>

Re: [Callers] dances with down-the-halls

[Greg McKenzie]

Chris asked:

> Please be careful and cautious when using the Dublin Bay down the hall.
>

Interesting.  I never call dances that instruct the dancers to walk
backwards.  It always seemed awkward and hazardous on it's face.  If I am
partnered in such a dance I will usually go ahead and dance it...but I
never walk backwards.  I alter the dance so that I can walk normally.

- Greg McKenzie
West Coast, USA



On Fri, Aug 30, 2013 at 11:53 AM, Chris Weiler (Home) <
chris.wei...@weirdtable.org> wrote:

> Please be careful and cautious when using the Dublin Bay down the hall. I
> have a vivid memory of dancing this at the Greenfield Grange in very
> crowded conditions (many many years ago). During the 2nd backing up the
> hall, I tripped over the foot of someone in the next line and fell on my
> rear end. I looked up at the wall of people backing up towards me with no
> idea that I had fallen. I never got to my feet so fast in my life.
>
> Chris Weiler
> Craftsbury, VT
>
>
>
> On 8/29/2013 5:36 PM, Kalia Kliban wrote:
>
>>
>> Al Olson's "Leaving Home" features a Dublin-Bay-style (that's an English
>> country dance, for those who aren't familiar with the name) down the hall.
>>
>> .
>>
>> A2 Line of 4 lead down for 4, turn toward N to face up but keep backing
>> down the hall for another 4, then lead up for 4, turn toward N to face down
>> and keep backing up the hall, bending the line at the very end. The 1s are
>> below.
>>
>
> __**_
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers
>

Re: [Callers] dances with down-the-halls

[Chris Weiler (Home)]

Please be careful and cautious when using the Dublin Bay down the hall. 
I have a vivid memory of dancing this at the Greenfield Grange in very 
crowded conditions (many many years ago). During the 2nd backing up the 
hall, I tripped over the foot of someone in the next line and fell on my 
rear end. I looked up at the wall of people backing up towards me with 
no idea that I had fallen. I never got to my feet so fast in my life.


Chris Weiler
Craftsbury, VT


On 8/29/2013 5:36 PM, Kalia Kliban wrote:


Al Olson's "Leaving Home" features a Dublin-Bay-style (that's an 
English country dance, for those who aren't familiar with the name) 
down the hall.


.
A2 Line of 4 lead down for 4, turn toward N to face up but keep 
backing down the hall for another 4, then lead up for 4, turn toward N 
to face down and keep backing up the hall, bending the line at the 
very end. The 1s are below.

Re: [Callers] dances with down-the-halls

[James Saxe]

JoLaine Jones-Pokorney asked for dances with unusual twists
on down-the-hall and come back up.


Kalia Kliban mentioned Al Olson's "Leaving Home", which adapts
an action from the English dance "Dublin Bay".

A2 Line of 4 lead down for 4, turn toward N to face up but keep  
backing down the hall for another 4, then lead up for 4, turn toward  
N to face down and keep backing up the hall,



Another contra using this action is Sue Rosen's "Handsome Young
Maids".  See, for example

 http://www.library.unh.edu/special/forms/rpdlw/syllabus2004.pdf


Cynthia Phinney mentioned "Hickman's Hey", in which dancers go
down the hall and dance half a hey before coming back up.  While
searching for information about it (see my previous message), I
found a variant called "Fiddling Frog Contra" by Leonard Ellis.
See

http://www.artkitchen.com/DanceContra/FiddlingFrog.html


One of my favorite dances with an unusual transition between going
down the hall and coming back up is "Brimmer and May Reel" by Dan
Pearl:

Duple improper
A1. Neighbors balance and swing.
A2. Right and left through (across only)
1's swing and face down
B1. Down the hall four in line (1's between the 2's) (4 steps)
1's California twirl (4)
Neighbors allemande with handy hand twice around (M1 & W2
by left, W1 & M2 by right) (8)
B2. Up the hall two-by-two, 1's leading the 2's (4)
1's cast unassisted to 2nd place while 2's continue up into
1st place and turn alone (towards each other) (4)
Circle left 1/2 (4)
Pass through along the line to meet new neighbors (4)

Dan's original version had the A1 and A2 as

A1. Neighbors swing (8)
Right and left through (8)
A2. 1's balance and swing

but I believe he now prefers (as I do) to start with a long neighbor
swing, ending at the end of the phrase instead of in the middle.

I'm not sure what Dan's current preference is about the balance in
A1.  Some callers omit it out of deference to dancers who are late
finishing the B2.  I think that including it rewards good timing.
I also think it shouldn't be a scramble (for dancers in decent
physical condition) to finish the B2 in time.  However, timely
calls can be crucial, especially in the first few rounds of the
dance.  If you allow the dancers to go down the hall four steps
before you begin calling the California twirl, then they'll get a
late start and may not be able to catch up during the entire rest
of the B part.

--Jim

Re: [Callers] dances with down-the-halls

[Colin Hume]

On Fri, 30 Aug 2013 11:01:48 +1200, Bill Baritompa wrote:
> Two Way StreetLisa Greenleaf, Bob Isaacs Becket

A1Ladies Right Allemand 1 1/2, Neighbor Swing
A2Down the hall four in line, (outsides walk and) insides turn
(back to right),  Next Neighbor Swing
B1Up the hall four in line, Circle left 3/4, Pass thru
B2Shadow Left Gypsy (or allemand), Partner Swing

I don't like the fact that the first time you swing N1 and N2, the
second time N2 and N3, the third time N3 and N4, etc.  How about
making it a regular Becket (like the original Becket Reel) rather than
a single progression Becket?  After going down the hall, insides about
turn, everybody pass the one you're facing (those out at the end pass
partner) and swing the next.  It means everybody is in the dance the
whole time.

But what do Lisa and Bob think?

Colin Hume

Email co...@colinhume.com  Web site http://www.colinhume.com

Re: [Callers] dances with down-the-halls

[Eric Black]

Here's one that fits a 40-bar (AABBC) tune:

Mudslide Reel - Eric Black   [40-bar!  Fits AABBC tune!]

A: Bal & sw neighbor (16)
   Long lines (8)
   Ladies forw to pt, take him back with you (8)
B: Sashay down hall (8) [line up gents back-to-back]
   Pt do-si-do (8)
   Hey across (8) [pass pt Rt, left in center]
   Pt sw (8)  end facing UP
C: Line of 4 return (8)  bend the line
   Circle L 3/4, pass through (8)

[written 3/11/95 during a bad bout of storms, power outages,
flash floods, and mudslides in Northern California.  Our little
town was landlocked for 2 weeks by mudslides that wiped out the
road on either side.  Teaches you to be self-sufficient!]



At 4:58 PM -0400 8/29/13, JoLaine Jones-Pokorney wrote:

Hi Everyone - Many of our easier dances include down-the-halls, but there
are so many ways to come back up!  There's turn alone, and turn as a couple
of course, but there's also sliding doors, right-hand-high-left-hand-low,
loop-de-loop, cloverleaf.  What are your favorite dances that include an
unusual down-the-hall? I've thought of putting together a program that
highlights all the different ways to go down the hall.  I think there is a
wide enough variety in these dances that it could be doable without boring
the dancers.
JoLaine

Re: [Callers] dances with down-the-halls

[James Saxe]

On Aug 30, 2013, at 2:39 AM, Cynthia Phinney wrote:


Here's a fun twist.
"Hickman's Hey"
There is half a hey when you get the bottom of the hall, then you  
finish the

hey when you get back home.

Hickman's Hey

A1  Down the Hall, four in line (Ones in middle)
½ Hey (Start facing in, ones pass right, End where partner was)
A2  Up the Hall
Finish the Hey
B1  One’s Allemande Left 1 1/2
Neighbor Swing
B2  One’s Balance & Swing

From what I can find out, Steve Hickman was the name of the person  
who
collected the dance and he did not know the actual name, nor the  
author.
Also, it seems that the B1 and B2 parts vary (the A1 and A2, being  
what
makes the dance distinctive, do not), but this is how I learned it  
and how I

call it.


William Watson's snapshot of the The American Country Dances On Line
site (originally compiled by Russell Owen) offers a version of
Hickman's Hey

http://www.quiteapair.us/calling/acdol/dance/acd_69.html

as follows:

A1 (8) Down the hall four in line (1's between the 2's)
   (8) Half hey, 1's pass right shoulders to start
A2 (8) Return up the hall four in line
   (8) Half hey (again), 1's pass right shoulders to start
B1 (4) 1's allemande right
   (12) Neighbors swing
B2 (8) Long lines go forward and back
   (8) 1's swing

Note that 1's allemande right 1x (not 1 1/2) in B1.  As Perry Shafran
pointed out, this correctly brings 1's to their neighbors.  Note also
that ACDOL's version of the mutable B2 is a little different from
Cynthia's.

Dan Pearl asked about the dance on rec.folk-dancing in 1992.  See

https://groups.google.com/forum/#!topic/rec.folk-dancing/ 
g4vWUSQRNT4


for Dan's query and a reply by Marlin Prowell which confirms what
Cynthia says about the history (or mystery) of the dances' origin:


*I*

[that would be Marlin --js]

posted a query about this dance perhaps nine months ago.  Or ...
almost this dance... In the version I posted, B2 is Actives Bal &  
swing.

[Dan's version had "B2. Long lines: forward & back; actives swing" --js]


In the Seattle area, this dance is known as Hickman's Hey, because
(according to Luther Black) Steve Hickman has called it in the area
several times, but Steve does not know who wrote it.  So the dance has
been named (for lack of any alternative) after the person who called
it.  Steve collected it at Pinewoods in 1987 at an after hours dance,
but did not get the name or author.

I did some research before posting my query.  Luther says that Steve
Hickman did not call this dance the same way each time, and that  
*this*

version was adapted from one of Steve Hickman's versions.  The
distinctive A1 - A2 parts have always been the same, but apparently  
the
B parts mutate. (BTW, Luther Black is a local good fellow; he is on  
the
board of directors of *both* CDSS and Folklife).  I asked Larry  
Edelman

if he knew the dance, and he did not.  I asked Steve Hickman, and he
admitted to collecting the dance, and did not know the author.   
Also, I
got no response to my query about this dance from the net.  (Other  
than

seeing another permutation show up on the net nine months later).

So, who did write this?

[Nobody seems to know. --js]

The June 2009 issue of the Lloyd Shaw Foundations's newsletter,
_The American Dance Circle_

http://lloydshaw.org/Resources/adc/200906i.pdf

includes a version with Steve Hickman incorrectly listed as author and
with B2 as circle left and actives swing.

--Jim

Re: [Callers] dances with down-the-halls

[Perry]

It seems the ones allemande doesn't bring partners together (if it is the ones 
who allemande) but it does seem to bring you to your same sex neighbor.  An 
allemande once will do it.

Perry


Sent from my Galaxy S®III

 Original message 
From: Bill Baritompa <staf...@ext.canterbury.ac.nz> 
Date: 08/30/2013  6:36 AM  (GMT-05:00) 
To: Caller's discussion list <call...@sharedweight.net> 
Subject: Re: [Callers] dances with down-the-halls 
 
Hi Cynthia,

  Could you clarify a bit. Is there a typo? Doesn't the AL 1 1/2 in B1 bring
partners together? The transition A1/A2 seems like it requires two of the 
dancers
  to make quick changes of direction. The transition A2/B1 has the AL coming
after the left shoulder pass of the hey. How do the dancers react to it?

Cheers, Bill

On 30/08/2013 9:39 p.m., Cynthia Phinney wrote:
> Here's a fun twist.
> "Hickman's Hey"
> There is half a hey when you get the bottom of the hall, then you finish the
> hey when you get back home.
>
> Hickman's Hey
>
> A1 Down the Hall, four in line (Ones in middle)
> ½ Hey (Start facing in, ones pass right, End where partner was)
> A2Up the Hall
> Finish the Hey
> B1One's Allemande Left 1 1/2
> Neighbor Swing
> B2One's Balance & Swing
>

___
Callers mailing list
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http://www.sharedweight.net/mailman/listinfo/callers

Re: [Callers] dances with down-the-halls

[Bill Baritompa]

Hi Cynthia,

 Could you clarify a bit. Is there a typo? Doesn't the AL 1 1/2 in B1 bring
partners together? The transition A1/A2 seems like it requires two of the 
dancers
 to make quick changes of direction. The transition A2/B1 has the AL coming
after the left shoulder pass of the hey. How do the dancers react to it?

Cheers, Bill

On 30/08/2013 9:39 p.m., Cynthia Phinney wrote:

Here's a fun twist.
"Hickman's Hey"
There is half a hey when you get the bottom of the hall, then you finish the
hey when you get back home.

Hickman's Hey

A1  Down the Hall, four in line (Ones in middle)
½ Hey (Start facing in, ones pass right, End where partner was)
A2  Up the Hall
Finish the Hey
B1  One's Allemande Left 1 1/2
Neighbor Swing
B2  One's Balance & Swing

Re: [Callers] dances with down-the-halls

[Cynthia Phinney]

Here's a fun twist.
"Hickman's Hey"
There is half a hey when you get the bottom of the hall, then you finish the
hey when you get back home.

Hickman's Hey

A1  Down the Hall, four in line (Ones in middle) 
½ Hey (Start facing in, ones pass right, End where partner was)
A2  Up the Hall
Finish the Hey
B1  One’s Allemande Left 1 1/2
Neighbor Swing
B2  One’s Balance & Swing

>From what I can find out, Steve Hickman was the name of the person who
collected the dance and he did not know the actual name, nor the author.
Also, it seems that the B1 and B2 parts vary (the A1 and A2, being what
makes the dance distinctive, do not), but this is how I learned it and how I
call it.

-cynthia



-Original Message-
From: callers-boun...@sharedweight.net
[mailto:callers-boun...@sharedweight.net] On Behalf Of JoLaine
Jones-Pokorney
Sent: Thursday, August 29, 2013 4:58 PM
To: callers-requ...@sharedweight.net; call...@sharedweight.net
Subject: [Callers] dances with down-the-halls

Hi Everyone - Many of our easier dances include down-the-halls, but there
are so many ways to come back up!  There's turn alone, and turn as a couple
of course, but there's also sliding doors, right-hand-high-left-hand-low,
loop-de-loop, cloverleaf.  What are your favorite dances that include an
unusual down-the-hall? I've thought of putting together a program that
highlights all the different ways to go down the hall.  I think there is a
wide enough variety in these dances that it could be doable without boring
the dancers.
JoLaine

-- 
JoLaine Jones-Pokorney

"We are as gods and might as well get good at it!"
- Stewart Brand
___
Callers mailing list
call...@sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers

Re: [Callers] dances with down-the-halls

[Liz and Bill]

Hi Bob and All,


Does it always have to be down-the-hall?
Turning in Turn   Improper - line/4 (2s in the middle)
1A1.  Up hall in line/4 - turn alone, down hall and bend line


The up then down will require the contra lines to stay away from the band :-)

Why not go down the hall and stay there the first time, and up the hall and stay 
there the
second?  Combining Turning in Turn and the use of a swing  to start back as in 
Two Way Street  and Walking Down the Street gives a dance with a  N Sw. The 
reminder feature for the 1s and 2s

is even more pronounced, and it doesn't require a gap at the head of the lines.

1A1 (#1 between #2) Down the hall; Nbr Swing Face Across
1A2  Circle Left 1; 2s figure 8 below
1B1  2s turn contra conrners
1B2  2s balance and swing - face up
2A1 (#2 between #1) Up the hall; Nbr Swing Face Across
2A2  Circle Left 1; 1s figure 8 above
2B1  1s turn contra conrners
2B2  1s balance and swing - face down

Cheers, Bill

Re: [Callers] dances with down-the-halls

[Bob Isaacs]

JoLaine and All:

 

Does it always have to be down-the-hall?

 

Turning in Turn   Improper - line/4 (2s in the middle)

Bob Isaacs, 12/99

 

1A1.  Up hall in line/4 - turn alone, down hall and bend line

1A2.  Circle L, 1s 1/2 figure 8 above

1B1.  1s turn contra corners

1B2.  1s balance, swing - face down
2A1.  Down hall in line/4 - turn alone, up hall and bend line

2A2.  Circle L, 2s 1/2 figure 8 below

2B1.  2s turn contra corners

2B2.  2s balance, swing - face up


Unlike other alternating cc dances, this povides a reminder of who's active.  
When starting up the hall, it's the 1s; down the hall, it's the 2s - 

 

Bob

 

> Date: Thu, 29 Aug 2013 16:58:27 -0400
> From: jola...@gmail.com
> To: callers-requ...@sharedweight.net; call...@sharedweight.net
> Subject: [Callers] dances with down-the-halls
> 
> Hi Everyone - Many of our easier dances include down-the-halls, but there
> are so many ways to come back up! There's turn alone, and turn as a couple
> of course, but there's also sliding doors, right-hand-high-left-hand-low,
> loop-de-loop, cloverleaf. What are your favorite dances that include an
> unusual down-the-hall? I've thought of putting together a program that
> highlights all the different ways to go down the hall. I think there is a
> wide enough variety in these dances that it could be doable without boring
> the dancers.
> JoLaine
> 
> -- 
> JoLaine Jones-Pokorney
> 
> "We are as gods and might as well get good at it!"
> - Stewart Brand
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
  

Re: [Callers] dances with down-the-halls

[Bill Baritompa]

Hi JoLaine,

These two use a swing and face up to start back.

Two Way Street  Lisa Greenleaf, Bob Isaacs  Becket

A1  Ladies Right Allemand 1 1/2, Neighbor Swing 
A2  Down the hall four in line, (outsides walk and) insides turn (back to 
right),
 Next Neighbor Swing
B1  Up the hall four in line, Circle left 3/4, Pass thru
B2  Shadow Left Gypsy (or allemand), Partner Swing  

The above inspired this easier dancer for our group here in CHCH

Walking Down the Street Bill Baritompa  Improper
June 2012   

A1  (#1 in middle)Down the hall four in line (8); Neighbor Swing (face up)  

A2  Up the hall  (8); Ladies Chain  
B1  Ladies Gypsy 1; Partner Swing (on gent's side)  
B2	Circle Left 3/4; Balance (the ring), #1 dive under #2 (and get between 
the next)			


note: In A2 rather than bending the line before the LC, it can be started nicely 
from
 the lines facing up, the women just move towards each other for the R 
arm turn.


Might bring back a few memories for you :-)
http://youtu.be/EnvjLpVGJ7A?t=4m22s


Cheers, Bill

Re: [Callers] dances with down-the-halls

[Kalia Kliban]

On 8/29/2013 1:58 PM, JoLaine Jones-Pokorney wrote:

Hi Everyone - Many of our easier dances include down-the-halls, but there
are so many ways to come back up!  There's turn alone, and turn as a couple
of course, but there's also sliding doors, right-hand-high-left-hand-low,
loop-de-loop, cloverleaf.  What are your favorite dances that include an
unusual down-the-hall? I've thought of putting together a program that
highlights all the different ways to go down the hall.  I think there is a
wide enough variety in these dances that it could be doable without boring
the dancers.


Al Olson's "Leaving Home" features a Dublin-Bay-style (that's an English 
country dance, for those who aren't familiar with the name) down the hall.


A1 N gypsy and swing, ending facing down.
A2 Line of 4 lead down for 4, turn toward N to face up but keep backing 
down the hall for another 4, then lead up for 4, turn toward N to face 
down and keep backing up the hall, bending the line at the very end. 
The 1s are below.

B1 Circle L 3/4 and swing P on side
B2 Ladies chain.  Star L to new Ns.

And I'm sure someone will correct me if I've picked up a tweaked version 
of this.  The "lead down, turn, and keep backing down" move is 
wonderfully swoopy, especially if you turn toward your neighbors.


Kalia

Re: [Callers] dances with down-the-halls

[Rich Goss]

You could include Alberta Street.  Has an unusual way to reverse the line of 
four.

Alberta Street Contra – Rich Goss   
Improper
Easy, down hall
 
A1:   (new) Neighbor Balance and Swing
 
A2:   Down hall 4-in-line, *Dixie Twirl
 Return, Bend the line
 
B1:   Circle left 3/4, Partner Swing
 
B2:   R/L Thru across (or Prom), Ladies chain
 
*Middles arch.  Keep hands joined, right hand dancer (#1 lady) leads through 
arch 
while the left hand dancer (#1 Gent) leads across set to face up.  
At the end of the move, the line is still in the same order, just facing up.

[Callers] dances with down-the-halls

[JoLaine Jones-Pokorney]

Hi Everyone - Many of our easier dances include down-the-halls, but there
are so many ways to come back up!  There's turn alone, and turn as a couple
of course, but there's also sliding doors, right-hand-high-left-hand-low,
loop-de-loop, cloverleaf.  What are your favorite dances that include an
unusual down-the-hall? I've thought of putting together a program that
highlights all the different ways to go down the hall.  I think there is a
wide enough variety in these dances that it could be doable without boring
the dancers.
JoLaine

-- 
JoLaine Jones-Pokorney

"We are as gods and might as well get good at it!"
- Stewart Brand