i like teaching "the ladies' pattern". ladies walk the same path (turn left, end on right) for a promenade, right and left through, ladies chain, and hey. they're kinda used to looping out a little, because in the first three figures, they're actually walking around a person - easy enough to get the concept of walking around a ghost from there.
> From: [email protected] > Date: Fri, 17 Feb 2012 07:49:28 -0600 > To: [email protected] > Subject: Re: [Callers] Heys for new dancers > > Exactly, Reed. That's one reason why I start from the ladies chain. > That loop-around-the-ghost is the same move for the ladies as a courtesy > turn -- only without the gent. > > Dale > > On Thu, Feb 16, 2012 at 10:17 PM, Read Weaver <[email protected]> wrote: > > > I've sometimes taught this as the loop on the end includes passing a > > ghost; e.g., right in the middle, left on the end, right with no one, left > > on the end, right in the middle, left on the end, right with no one, and > > you're home. It helps people get the timing right, and it helps the people > > who are convinced that it just has to be right-left-right-left-right-** > > left. > > > > --Read Weaver > > Jamaica Plain, MA > > http://lcfd.org > > > > > > On Feb 16, 2012, at 12:12 PM, Martha Edwards wrote: > > > > Wonderful method, Dale! > >> > >> I would only like to add that I wish all of us would make a bigger deal > >> out > >> of making a BIG LOOP on the ends. When you think about it, you've got 4 > >> counts to get across the set, and 4 counts to make the loop. That should > >> give you an idea of the relative size that the loop should be... > >> > >> It's almost counter-intuitive that to make the hey faster (i.e., easier) > >> you have to make the turnaround bigger, not smaller! > >> > >> M > >> E > >> > >> On Wed, Feb 15, 2012 at 9:55 PM, Dale Wilson <[email protected]> > >> wrote: > >> > >> When I teach a half Hey in an intro workshop I do it right after the > >>> Ladies > >>> Chain. I start by telling the women that they already know this next > >>> move > >>> and have them do the chain with no hands -- including walking around the > >>> opposite gent. Then I tell the gents that they'll be following the same > >>> path but not right behind the lady -- poeple will be passing in between. > >>> > >>> Once everybody gets the half hey -- usually pretty quickly -- I introduce > >>> the full hey -- talking about taking your time on the loop at the ends > >>> because that's usually a source of problems and confusion when someone > >>> tries to start back in too soon. > >>> > >>> And of course I mention for the full hey, when all else fails, just get > >>> back to where you started. > >>> > >>> Dale > >>> > >>> On Wed, Feb 15, 2012 at 9:14 PM, Hilton Baxter <[email protected] > >>> > >>>> wrote: > >>>> > >>> > >>> Adding to Linda's good thoughts - > >>>> > >>>> For a full hey I usually point out that people should end up in their > >>>> starting place, and if there are lots of newer dancers I may add "how > >>>> you > >>>> get there is just a detail, as long as you don't crash into anyone > >>>> else." > >>>> Folks often chuckle at that point, which I take as a good sign. But how > >>>> > >>> to > >>> > >>>> officially teach it? If most people are new I've done the first > >>>> > >>> walkthrough > >>> > >>>> with hands, as in Grand R & L, then without hands. > >>>> > >>>> One thing that confuses a lot of new folks is how to turn and re-enter > >>>> on > >>>> the other side. I've seem many people turn sharply back and collide. It > >>>> sometimes helps to describe it as a LH U-turn (or RH U-turn as the case > >>>> > >>> may > >>> > >>>> be), or to suggest pretending that they're hooking their arm around an > >>>> imaginary lamppost. Or pretend they are little airplanes and have to > >>>> > >>> "bank" > >>> > >>>> to turn. Most kids (and some adults) embrace being silly with the > >>>> > >>> airplane > >>> > >>>> idea, which makes the whole figure less intimidating. > >>>> > >>>> For a half hey, it helps to point out they'll be diagonally across from > >>>> their staring place at the end (usually the same gender neighbor's > >>>> spot). > >>>> > >>>> Hilton Baxter > >>>> > >>>> > >>>> > >>>> I agree with Tavi that heys don't have to be perceived as a difficult > >>>>> move. I use them all the time with newer dancers, using the following > >>>>> guidelines: > >>>>> A full hey which occurs anywhere but in the B2 is easier, since the > >>>>> dancers do not have to progress out of the hey > >>>>> A hey which ends up with a B & S, or gypsy and S (either P or N) will > >>>>> smooth over any tendency to get a bit lost. Great dances that are > >>>>> perfect examples are: > >>>>> The Carousel by Tom Hinds > >>>>> Flirtation Reel by Tony Parkes > >>>>> There are many others! > >>>>> Sometimes using a dance that introduces a half hey is a great way to > >>>>> get folks ready for a full hey later on in the evening. > >>>>> These dances add variety. > >>>>> > >>>>> One other quick point that I thought about when Emily first posted, > >>>>> but did not share at the time: I use four in line down the hall quite > >>>>> a bit with new dancers. I have never found that it caused confusion > >>>>> about location in space/the dance. Quite the contrary, it gives folks > >>>>> encouragement to move to the music in a quite natural way, and is > >>>>> another move that adds variety. I can understand avoiding these dances > >>>>> because of space constraints. However, four in line down the hall to a > >>>>> great march makes for wonderful dancing. > >>>>> > >>>>> Cheers! Linda > >>>>> > >>>> > >>>> > >>>> ______________________________**_________________ > >>>> Callers mailing list > >>>> [email protected] > >>>> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> > >>>> > >>>> > >>> > >>> > >>> -- > >>> *So if you knew what was broken...how long would it take you to fix it?* > >>> ______________________________**_________________ > >>> Callers mailing list > >>> [email protected] > >>> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> > >>> > >>> > >> > >> > >> -- > >> As you set out for Ithaka, pray that your journey be long, full of > >> adventure, full of discovery... > >> May there be many summer mornings when, with what pleasure, with what joy, > >> you enter harbors you're seeing for the first time. > >> ~Constantine Cavafy, "Ithaka" 1911 > >> ______________________________**_________________ > >> Callers mailing list > >> [email protected] > >> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> > >> > > > > ______________________________**_________________ > > Callers mailing list > > [email protected] > > http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> > > > > > > -- > *So if you knew what was broken...how long would it take you to fix it?* > _______________________________________________ > Callers mailing list > [email protected] > http://www.sharedweight.net/mailman/listinfo/callers
