I agree with John Sweeney, but it all depends.
For a large group of beginners, rather than spending time
explaining the advantage of having an experienced partner or trying to
split beginners up,
the simple solution is have a dance where they don't swing together.
like:
Easier Than Pie by Billy Boyer
Essex Reel by Tony Parkes
First Star by Ted Steele
Open Rehearsal by Jacob Bloom
Paul's Fishing Reel by Jim Gregory
Saturday Night Reel by Herbie Gaudreau
Sunrise Jig by Shelly Jenkins
I usually limit it to one dance, but it depends.
Then there is the 'almost' situation where only the 1s or 2s swing.
It has the same risk of 'disappointing' the dedicated swingers.
like:
Alternating Corners by Jim Kitch
Boiling Mud by Greg Byrne
Three's Company by Paul Balliet
and quite a few others.
Then there is the case where there is so much going on in the dance,
that there just isn't
anywhere to fit in a partner swing.
like:
The Thirty-Fourth of October by Bob Archer
Divided Star by Don Armstrong
and other dances already mentioned.
But I grant you, I can't think of a reason I would call one of these,
when there are so many other better dances...
But then there is the argument that as a change of pace,
with an interesting dance, most people won't really notice.
But it's got to be a dynamite dance, or after dances with long partner
swings.
As Grocho Marx once quipped, "...but I take [my cigar] out of my mouth
every once in a while."
Bill
Rich Sbardella via Callers wrote:
I cannot recall dancing a modern contra in the last few years that
does not include a Partner Swing, so I have a few questions.
First, do you call any such modern dances without a partner swing?
Why or why not?
Second, if you do, do you announce it before the preceding dance so as
to inform those pairs of dancer that love to swing together?
The Tease by Tom Hinds is one such creative dance that begs to be called.
Rich Sbardella,
Stafford, CT
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