[Callers] Multiple N swings / does this dance exist?

[Maia McCormick via Callers]

Hey folks,

Looking for a dance with multiple swings with the same N, and also
preferably a P b, for a workshop I'm running on in-dance communication.
Anyone have one to recommend?

On a similar note, this is the dance I tossed off to fill this need: does
it exist? If not, tentatively titling it "Good Fences".

Improper
A1: long lines forward and back
(new) N swing
A2: ladies chain to P
half hey (ladies pass R)
B1: P b
B2: gents alle. L 1 1/2
(same) N swing
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[Callers] Under the Birches ECD Tune.......Is there a dance written for it?

[Lorraine Sutton via Callers]

Hi,

I am preparing my program for my ECD group this Fall,  Lord Greys ECD in
southern Ontario.

I was listening to Vol. #14 of CDSS ECD and loved The Waltz  by Earl
Gaddis  Under the Birches.

Wondering if a dance has been written for this gorgeous music.

Thanks for any help with this

Lorraine Sutton
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Re: [Callers] Grid Contra: Contra Bias (as in, on the diagonal)

[Luke Donforth via Callers]

Hello all,

Thank you for the (off-list) feedback on the previous grid contra.

I wrote another grid contra; and actually walked it through at a dance camp
I was calling at (thank you Echo Summit). We didn't dance it (the musicians
were on break). But the patterns worked. I've incorporated their feedback
into the language I've used to describe it (swapped from bias/other to
designating with colors):

*Pong* (Grid Contra)
single set lateral progression (i.e. double horizontal becket)
single vertical progression
Alternating Left or Right designation for sets
Orange corners:
for left sets is gents (people on left); for right sets is ladies (people
on right)
Purple corners:
for left sets is ladies (people on right); for right sets is gents (people
on left)

A1 ———–
(4) Balance the Ring
(4) Orange corners swap by right shoulder, all face across at neighbor
(4) walk across set to new set, Pass neighbor 1 by left and neighbor 2 by
right
(4) Women allemande left half way

A2 ———–
(16) Neighbor balance and swing

B1 ———–
(8) Circle Left 3/4
(8) Partner swing

B2 ———–
(4) Balance the Ring
(4) Purple corners swap by right
(4) Right to partner, balance
(4) square through: pull by right with partner and left with neighbor –
face new neighbor

Notes:
When you reach an edge of the sets, you pass your partner (as neighbor #2)
and face back in. Your corner color swaps purple<->orange.
When you reach an end of a set, you wait out one time (and swap places with
your partner). Your number changes 1<->2, and your color changes
purple<->orange.
In either edge or end case, you’ll “bounce”; like in the old video game
Pong. You change one direction of travel, but not the other one (i.e.
specular reflection). Your color swaps when you wait out one time at the
ends, but the lateral wall you’re travelling towards doesn’t change.
As a mnemonic, O comes become P, so the Orange corners will swap before the
Purple corners. Orange corners are the folks standing on the direction of
lateral progression side of their couple (i.e. gents are on the left, so
left sets have gents as orange couples).

For a discussion of where each person is after the moves; I go in
diagrammed depth at
http://www.madrobincallers.org/2017/09/19/pong-a-grid-contra/

Feel free to share your thoughts or feedback. I think this one, although
certainly advanced, is danceable if the prompting language works.

On Tue, Sep 5, 2017 at 2:00 PM, Luke Donforth  wrote:

> Hello all,
>
> I had a three hour drive to a gig the other day, and ruminated (again) on
> grid contras. I think I've come up with a potentially dancable one. This is
> advanced-dance stuff, not to be deployed lightly. And while I hope it won't
> take 3 hours to digest this e-mail, I'm going to get into the weeds here.
> Dive in only if you feel like bush-whacking with me. Here we go...
>
> I'm going at it from a theoretical framework, from the ground up. This is
> NOT how I'd teach it to dancers. If you want to start with the dance, jump
> to down to *Contra Bias* in bold.
>
> One drawback to grid contras attempts is what I'll call the "corner issue"
> (discussed in more detail in footnote); where folks travel on diagonal
> lines and get stuck in closed loop. Grid Squares can break the loop by
> having figures and breaks that do different things. You're less likely to
> get stuck in a corner when you progress in different ways at different
> times through the dance.
>
> But modern contra is defined by doing the same sequence every time
> through. I personally enjoy, as a dancer and as a caller, when the caller
> can drop out and let the dancers move to the music. (It's why I'm biased
> towards contras.) So I want a sequence that doesn't trap dancers in a
> corner loop, but is the same sequence every time. So I think we need to
> de-couple the up and down the set progression from the lateral progression
> from set to set. If you're a 1, you're going to stay a 1 until you reach
> the bottom of the set, whether or not you reach the edge of the sets. The
> 2s will be 2s until they reach the top of the hall. But if you were
> progressing to the right across sets, when you reach the edge, you have to
> start progressing left; or you'll run out of dancers. So some folks are
> progressing right, and some left. That means that different sets will have
> different progressions.
>
> Let's set up a dance hall, 8 sets wide, and 4 hands-four deep.
> Stage is to the North (or you can think of N for Nutcase Caller...)
> (*I've attempted to format this with a fixed-width font to keep the grid
> clear. If it doesn't line up, your e-mail program may have changed the
> formatting*).
>
>  N
>   1s(A1) 1s(B1) 1s(C1) 1s(D1) 1s(E1) 1s(F1) 1s(G1) 1s(H1)
>   2s(a1) 2s(b1) 2s(c1) 2s(d1) 2s(e1) 2s(f1) 2s(g1) 2s(h1)
>
>   1s(A2) 1s(B2) 1s(C2) 1s(D2) 1s(E2) 1s(F2) 1s(G2) 1s(H2)
>   2s(a2) 2s(b2) 2s(c2) 2s(D2) 2s(e2) 2s(f2) 2s(g2) 2s(h2)
> W