> What recommendations do you have to prepare dancers for end effects when they
> are not used to anything more than "cross over and wait?"
Make sure they hear and respond positively to special instructions. As an
example, the improper duple minor dance "Round the Horn" by Walter Lenk
RKER MANN <m_p_m...@shaw.ca>
To: call...@sharedweight.net
Sent: Mon, 6 September, 2010 4:21:45 PM
Subject: [Callers] Dances with tricky end effects
I 'm planning on calling a couple of dances this weekend where there
is
interaction with couples outside the usual minor sets. One of them
is D
You can tell people which side they need to be on (if it's just
waiting out on the end for something to happen), but frequently the best
advice is to just tell them that the people who are in the dance know
where you need to be better than you (who are standing out) do -- go
where you're
Sometimes it's enough to say, "when you're waiting out at the end, be ready to
allemande (or form long waves, or star left, or whatever) with people"
Depending on the dance, you might have to tell people *not* to cross over right
away, or to be in position to chain on the right (or left)
, 2010 1:22 AM
To: call...@sharedweight.net
Subject: [Callers] Dances with tricky end effects
I 'm planning on calling a couple of dances this weekend where there is
interaction with couples outside the usual minor sets. One of them is Dan
pearl's composition "Cal and Irene." My conce
There are actually two possible cases to think about. First: what couples do
when they have progressed out of the set (and the answer is USUALLY "cross over
and wait"). Second: what pairs (not partners) do when they move out of the
minor set at some point during the sequence, like in "Cal and
[Callers] Dances with tricky end effects
I 'm planning on calling a couple of dances this weekend where there is
interaction with couples outside the usual minor sets. One of them is Dan
pearl's composition "Cal and Irene." My concern is what happens at the top and
bottom of the lines.
I 'm planning on calling a couple of dances this weekend where there is
interaction with couples outside the usual minor sets. One of them is Dan
pearl's composition "Cal and Irene." My concern is what happens at the top and
bottom of the lines.
What recommendations do you have to prepare
