Re: [Callers] Teaching a Mad Robin

[Yoyo Zhou via Callers]

For me, the obvious problem with the do-si-do analogy is that mad robins
can go in either direction, and if it's counterclockwise, it's the path of
a see-saw instead of a do-si-do (and I don't teach see-saw if I can help
it).

My experience is that the important parts are:
- It's a sideways sliding figure
- You're sliding around neighbor while looking at partner (or vice versa)
- You return to where you started

So this might sound like:
"Don't do it yet. We're about to do a sideways sliding figure called a mad
robin."
(Maybe, add something about returning to starting place if it seems like
it'll help this audience)
"You'll be looking at your partner the whole time but sliding sideways
around your neighbor."
"It starts with, ravens slide to the right in front as larks slide to the
left behind," (dancers are now moving)
"then larks slide to the right in front as ravens slide to the left
behind." (continue moving)
"And you're back where you started."

Also, some people - some beginners, but also some experienced dancers - are
not able to confidently move sideways while keeping their eyes on their
partner, or maybe it's too much staring for them, so they do the motion
without the eye contact. At my local dances I'd say this happens at least
1/3 of the time. Does this feel satisfying? No. Does it work fine? Yes.
I've learned to manage my expectations.

Yoyo Zhou


On Mon, Sep 24, 2018 at 9:57 AM Don Veino via Callers <
callers@lists.sharedweight.net> wrote:

> Your numbered list approach is just what I did that night (but Gents and
> Ladies). I do like your stressing point 2.
>
> -Don
>
> On Mon, Sep 24, 2018 at 12:49 PM, Maia McCormick 
> wrote:
> [snip]
>
>>
>> When teaching it from the mic, I've taken to doing it like this:
>> 1. "This is another of those fancy moves that gets you right back where
>> you started. *At the end of this move, you'll be right back here*."
>> 2. "So it's important to *stay on the side of your set*. Lots of people
>> feel like they should cross. Don't."
>> 3. "Lock eyes with your [partner]. You're going to walk a little circle
>> around your [neighbor], while looking at your partner.
>> 4. "[Ravens] take a small step forward, [larks] take a small step back."
>> 5. "Keep your eyes on your partner. Ravens, step to your left and larks
>> step to your right, sliding past your neighbor."
>> 6. "Now larks step forward and ravens step back; larks step right and
>> ravens step left, sliding past your neighbor again."
>> 7. "You're back where you started, hooray! Now let's try that up to
>> speed..." etc.
>>
>> On Mon, Sep 24, 2018 at 12:39 PM Don Veino via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>> As may be obvious, I love Mad Robins. I'm still working on what is the
>>> best way to teach them.
>>>
>>> [snip]
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Re: [Callers] A Call for Caller Jokes

[Meg Dedolph via Callers]

What's orange and sounds like a parrot?
A carrot!

On Mon, Sep 24, 2018 at 6:24 PM Polly Minstrel via Callers <
callers@lists.sharedweight.net> wrote:

> My latest fave: what does the family of cows have for dinner?
> Hay-for-four.
>
> *groan
>
> On Mon, Sep 24, 2018, 3:50 PM Isaac Banner via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hey everyone,
>>
>> Improbably, I've found that I've reached the bottom of my barrel of jokes
>> to tell while calling!
>> Part of it might be that I go through more than just 1 or 2 on some
>> nights
>>
>> Regardless, I've found that I need to restock my box of dance-safe humor
>> a bit if I'm going to keep up my infamous taste for humor. What are some of
>> your favorite dance-safe jokes that are short enough to pepper in-between
>> dances or before a walkthrough?
>>
>> Thanks,
>> Isaac Banner
>> ___
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>>
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Re: [Callers] A Call for Caller Jokes

[Polly Minstrel via Callers]

My latest fave: what does the family of cows have for dinner? Hay-for-four.

*groan

On Mon, Sep 24, 2018, 3:50 PM Isaac Banner via Callers <
callers@lists.sharedweight.net> wrote:

> Hey everyone,
>
> Improbably, I've found that I've reached the bottom of my barrel of jokes
> to tell while calling!
> Part of it might be that I go through more than just 1 or 2 on some
> nights
>
> Regardless, I've found that I need to restock my box of dance-safe humor a
> bit if I'm going to keep up my infamous taste for humor. What are some of
> your favorite dance-safe jokes that are short enough to pepper in-between
> dances or before a walkthrough?
>
> Thanks,
> Isaac Banner
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Re: [Callers] joke, and a request

[Robert Golder via Callers]

The dance you’re looking for is:

KING OF THE KEYBOARD
Ted Sannella (for Bob McQuillen; first danced June 18, 1989)
Triple Minor; Proper
Two Swings, Actives & Neighbor 2’s

A1) Actives Swing (end facing down); Swing Neighbor Below (face across)
A2) Forward six and back; Actives Allemande Left 1-1/4 to center of lines of 
three across
B1) Forward six and back (across); Actives Allemande Left 1-1/4 to progressed 
position, then take right hand and...
B2) Actives Turn Contra Corners

As they conclude Contra Corners, actives resist the urge to balance, but move 
right into a partner swing as the dance begins again. This dance can really 
fly. Published in Larry Jennings’ Give-and-Take.

> On Sep 24, 2018, at 5:34 PM, Judy Greenhill via Callers 
>  wrote:
> 
> What is the difference between a dance caller and a savings bond?
> A savings bond eventually matures…and makes money! (said with a grin, of 
> course!)
>  
> On a more serious note, I would like to get my local dance series doing 
> more-well, actually some!-triple minors. Eventually I’d like to get them to 
> at least tolerate some of the traditional dances, but the learning curve of 
> triple minor +plus unfamiliar figures + no swing has always been just too 
> steep for them to manage. I’ve gone through Zesty Contras for more modern 
> triples but so far haven’t found one that I think will work-so, what are your 
> favourite triple minors? What worked-and what didn’t-in introducing them to a 
> crowd used to at least one swing in every dance, and everybody moving most, 
> if not all of the time?
>  
> Can include contra corners as they are pretty proficient-thanks to 3 years of 
> including it every time I call!
>  
> Thanks everyone,
>  
> Judy Greenhill
> 
>  
> 
> Virus-free. www.avast.com 
> 
>  
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Re: [Callers] joke, and a request

[Bill Olson via Callers]

Judy, I really like Sackett's Harbor.. Yes contra corners.  No swing,,.. but 
certainly enough partner interaction for the actives..


you can find it all over the internet..


bill



From: Callers  on behalf of Judy 
Greenhill via Callers 
Sent: Monday, September 24, 2018 9:34 PM
To: callers discussion list
Subject: [Callers] joke, and a request


What is the difference between a dance caller and a savings bond?

A savings bond eventually matures…and makes money! (said with a grin, of 
course!)



On a more serious note, I would like to get my local dance series doing 
more-well, actually some!-triple minors. Eventually I’d like to get them to at 
least tolerate some of the traditional dances, but the learning curve of triple 
minor +plus unfamiliar figures + no swing has always been just too steep for 
them to manage. I’ve gone through Zesty Contras for more modern triples but so 
far haven’t found one that I think will work-so, what are your favourite triple 
minors? What worked-and what didn’t-in introducing them to a crowd used to at 
least one swing in every dance, and everybody moving most, if not all of the 
time?



Can include contra corners as they are pretty proficient-thanks to 3 years of 
including it every time I call!



Thanks everyone,



Judy Greenhill

[https://ipmcdn.avast.com/images/icons/icon-envelope-tick-round-orange-animated-no-repeat-v1.gif]
   Virus-free. 
www.avast.com
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[Callers] My First Triple Minor

[John Sweeney via Callers]

Hi Judy,

  I like Alamo Triad from Give-and-Take.

 

  Hands Six from the top. #1s Improper, #2s and #3s Becket, now
hold hands in a circle of six - #1s keep your backs to the band.

 

  It is Double Progression, so you don't spend so long out at
the end.  It has a swing.  The #2s and #3s keep switching sides, but do the
same movements so there is less confusion.  They are all standard contra
moves.

 

  You just need to really make sure that they understand that
only one of the two couples out at the top can become the next #1s!

 

  It may help them to start understanding some of the concepts.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://www.modernjive.com for Modern Jive Events & DVDs


http://www.contrafusion.co.uk for Dancing in Kent


 

From: Callers  On Behalf Of Judy
Greenhill via Callers
Sent: 24 September 2018 22:35
To: callers discussion list 



On a more serious note, I would like to get my local dance series doing
more-well, actually some!-triple minors. Eventually I'd like to get them to
at least tolerate some of the traditional dances, but the learning curve of
triple minor +plus unfamiliar figures + no swing has always been just too
steep for them to manage. I've gone through Zesty Contras for more modern
triples but so far haven't found one that I think will work-so, what are
your favourite triple minors? What worked-and what didn't-in introducing
them to a crowd used to at least one swing in every dance, and everybody
moving most, if not all of the time?

 

Can include contra corners as they are pretty proficient-thanks to 3 years
of including it every time I call!

 

Thanks everyone,

 

Judy Greenhill

 


 
 

Virus-free.
 www.avast.com 

 

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[Callers] joke, and a request

[Judy Greenhill via Callers]

What is the difference between a dance caller and a savings bond?

A savings bond eventually matures.and makes money! (said with a grin, of
course!)

 

On a more serious note, I would like to get my local dance series doing
more-well, actually some!-triple minors. Eventually I'd like to get them to
at least tolerate some of the traditional dances, but the learning curve of
triple minor +plus unfamiliar figures + no swing has always been just too
steep for them to manage. I've gone through Zesty Contras for more modern
triples but so far haven't found one that I think will work-so, what are
your favourite triple minors? What worked-and what didn't-in introducing
them to a crowd used to at least one swing in every dance, and everybody
moving most, if not all of the time?

 

Can include contra corners as they are pretty proficient-thanks to 3 years
of including it every time I call!

 

Thanks everyone,

 

Judy Greenhill



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Re: [Callers] A Call for Caller Jokes

[John Freeman via Callers]

Hi All,

The main band that I worked with years ago loved to pull “tricks” on me. The 
fiddler used to refer to “ring around the caller” whenever I taught a dance 
from the middle of the circle. 

John B. Freeman SFTPOCTJ.

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Re: [Callers] A Call for Caller Jokes

[Mark Hillegonds via Callers]

Here's one that's good for a groan:

I was once in a band called The 999 Megabytes.

We were pretty good, but never got a gig.

On Sep 24, 2018 3:50 PM, "Isaac Banner via Callers" <
callers@lists.sharedweight.net> wrote:

Hey everyone,

Improbably, I've found that I've reached the bottom of my barrel of jokes
to tell while calling!
Part of it might be that I go through more than just 1 or 2 on some
nights

Regardless, I've found that I need to restock my box of dance-safe humor a
bit if I'm going to keep up my infamous taste for humor. What are some of
your favorite dance-safe jokes that are short enough to pepper in-between
dances or before a walkthrough?

Thanks,
Isaac Banner
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Re: [Callers] A Call for Caller Jokes - here's one...

[Charles (Chuck) Galt via Callers]

This is a nice topic, one that I’ve toyed with for a long time, and I also have 
a set of cards to draw on, as I have terrible memory for jokes.

At Friday night’s dance, when sound person was having a problem prior to start 
of a dance, I found no jokes came to mind, so asked the dancers. One came up 
with this:

What do you call a cow that has just given birth?
… pause …
De-calf-inated (roars of laughter and groans)

chuck
_
Charles (Chuck) Galt
Petaluma, CA

From: Isaac Banner via Callers
Sent: Monday, September 24, 2018 12:50 PM
To: Callers@Lists.Sharedweight.net
Subject: [Callers] A Call for Caller Jokes

Hey everyone,

Improbably, I've found that I've reached the bottom of my barrel of jokes to 
tell while calling!
Part of it might be that I go through more than just 1 or 2 on some nights

Regardless, I've found that I need to restock my box of dance-safe humor a bit 
if I'm going to keep up my infamous taste for humor. What are some of your 
favorite dance-safe jokes that are short enough to pepper in-between dances or 
before a walkthrough?

Thanks,
Isaac Banner

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[Callers] A Call for Caller Jokes

[Isaac Banner via Callers]

Hey everyone,

Improbably, I've found that I've reached the bottom of my barrel of jokes
to tell while calling!
Part of it might be that I go through more than just 1 or 2 on some
nights

Regardless, I've found that I need to restock my box of dance-safe humor a
bit if I'm going to keep up my infamous taste for humor. What are some of
your favorite dance-safe jokes that are short enough to pepper in-between
dances or before a walkthrough?

Thanks,
Isaac Banner
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Re: [Callers] Teaching a Mad Robin

[Rich Sbardella via Callers]

Here is the definition of Half Sashay from the square dance world.  A Mad
robin is simply two half sashay.  The direction may change, and it may be
"neighbor" instead of "partner", but the simplicity of definition may help.


 (a) HALF SASHAY

Starting formation - couple.

Partners exchange places without changing facing directions.

Dancer on the right sidesteps to the left, while the other dancer on the
left steps back, sidesteps to the right, then steps forward to rejoin
partner.

Rich Sbardella
Stafford, CT

On Mon, Sep 24, 2018 at 1:33 PM Linda S. Mrosko via Callers <
callers@lists.sharedweight.net> wrote:

> That's why I use the term "sashay around" rather than "mad robin".
> Sashay means move sideways, and around is pretty obvious.
> tell them who to go around and who to focus their attention on and no one
> has too much trouble doing it correctly.
> Besides, "sashay around" or "sashay round" feels better to say than "mad
> robin" -- which sounds angry or confused, IMO.
>
> On Mon, Sep 24, 2018 at 11:39 AM Don Veino via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> As may be obvious, I love Mad Robins. I'm still working on what is the
>> best way to teach them.
>>
>> I know about the "Dosido/now face your Partner/on the same path as the
>> Dosido, do a Mad Robin" approach and have used it.
>>
>> I've heard other callers I admire admonish to not use the "wrong" move as
>> a teaching tool for the "right" move - as it's that much harder to
>> "unlearn" the original bit.
>>
>> What I've observed is that newer dancers may end up focused on the wrong
>> person, facing the wrong direction, and possibly doing the "Dosido Twirl"
>> when using the Dosido teach. But they *do* follow the correct path (so
>> long as the caller remembers to say SeeSaw vs. Dosido as the correct
>> analogue) on the floor. Some can make the facing adjustment and some
>> persist in facing the wrong way. If the dance tolerates the facing
>> differences, all is OK.
>>
>> As a practice, I actively solicit feedback on my calling at each gig. Out
>> of a recent one I got into an extended discussion about the Mad Robin teach
>> with a dancer whom had struggled with their beginner partner in a sequence
>> that evening. I had read that crowd as highly experienced so did only a
>> basic teaching of the move, which they reported having not got through to
>> this beginner. They freely offered that all was well around them, it was
>> just a frustration in their own experience. We touched on the merits and
>> drawbacks of the Dosido teach (which I chose not to use in that situation
>> as it appears to annoy experienced dancers, plus because of the above
>> points).
>>
>> I'm trying to evolve to something that teaches both the correct motion
>> and the facing direction at the same time - *without* taxing experienced
>> folks' patience. I have my own ideas on this but welcome others'.
>>
>> So, how do *you* teach a Mad Robin most effectively and efficiently? Do
>> you vary it by context, crowd composition, other factors?
>>
>> Thanks,
>> Don
>> ___
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>>
>
>
> --
>
>
>
> *Looking forward,Linda S. Mrosko*
>
> *102 Mitchell Drive*
>
> *Temple, Texas 76501*
>
> *(903) 292-3713 (Cell)*
> *(903) 603-9955 (Skype)*
> *contradancetx.com *
>
> *www.zazzle.com/fuzzycozy*  (Dance
> buttons, t-shirts, & more)*
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Re: [Callers] Teaching a Mad Robin

[Linda S. Mrosko via Callers]

That's why I use the term "sashay around" rather than "mad robin".
Sashay means move sideways, and around is pretty obvious.
tell them who to go around and who to focus their attention on and no one
has too much trouble doing it correctly.
Besides, "sashay around" or "sashay round" feels better to say than "mad
robin" -- which sounds angry or confused, IMO.

On Mon, Sep 24, 2018 at 11:39 AM Don Veino via Callers <
callers@lists.sharedweight.net> wrote:

> As may be obvious, I love Mad Robins. I'm still working on what is the
> best way to teach them.
>
> I know about the "Dosido/now face your Partner/on the same path as the
> Dosido, do a Mad Robin" approach and have used it.
>
> I've heard other callers I admire admonish to not use the "wrong" move as
> a teaching tool for the "right" move - as it's that much harder to
> "unlearn" the original bit.
>
> What I've observed is that newer dancers may end up focused on the wrong
> person, facing the wrong direction, and possibly doing the "Dosido Twirl"
> when using the Dosido teach. But they *do* follow the correct path (so
> long as the caller remembers to say SeeSaw vs. Dosido as the correct
> analogue) on the floor. Some can make the facing adjustment and some
> persist in facing the wrong way. If the dance tolerates the facing
> differences, all is OK.
>
> As a practice, I actively solicit feedback on my calling at each gig. Out
> of a recent one I got into an extended discussion about the Mad Robin teach
> with a dancer whom had struggled with their beginner partner in a sequence
> that evening. I had read that crowd as highly experienced so did only a
> basic teaching of the move, which they reported having not got through to
> this beginner. They freely offered that all was well around them, it was
> just a frustration in their own experience. We touched on the merits and
> drawbacks of the Dosido teach (which I chose not to use in that situation
> as it appears to annoy experienced dancers, plus because of the above
> points).
>
> I'm trying to evolve to something that teaches both the correct motion and
> the facing direction at the same time - *without* taxing experienced
> folks' patience. I have my own ideas on this but welcome others'.
>
> So, how do *you* teach a Mad Robin most effectively and efficiently? Do
> you vary it by context, crowd composition, other factors?
>
> Thanks,
> Don
> ___
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> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>


-- 



*Looking forward,Linda S. Mrosko*

*102 Mitchell Drive*

*Temple, Texas 76501*

*(903) 292-3713 (Cell)*
*(903) 603-9955 (Skype)*
*contradancetx.com *

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Re: [Callers] Teaching a Mad Robin

[John Sweeney via Callers]

Hi Don,

  I find that the key word is the one that Maia used: “Slide”.

 

  I teach it as slide in front/behind, step forwards/backwards, 
slide back to where you started.

 

  And, very important, I call it as “Slide (to the side)” for the 
first few times through the dance.

 

  Calling “Mad Robin” means that they have to process the words 
before they can do the move.  Call “Slide” and they slide.

 

  I find that using a Ladies’ Chain into an anti-clockwise Mad 
Robin is one of the easiest combinations since the dancers finish the Ladies’ 
Chain with man behind and the lady in front ready for the slide.

 

  Telling the dancers that it is called a Mad Robin is useful as it 
may help them next time they meet the move, but it is not a useful term per se 
as it has no intrinsic meaning.

 

  I don’t usually bother with the Dosido method; it causes more 
confusion that it is worth.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

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Re: [Callers] Teaching a Mad Robin

[Don Veino via Callers]

Your numbered list approach is just what I did that night (but Gents and
Ladies). I do like your stressing point 2.

-Don

On Mon, Sep 24, 2018 at 12:49 PM, Maia McCormick  wrote:
[snip]

>
> When teaching it from the mic, I've taken to doing it like this:
> 1. "This is another of those fancy moves that gets you right back where
> you started. *At the end of this move, you'll be right back here*."
> 2. "So it's important to *stay on the side of your set*. Lots of people
> feel like they should cross. Don't."
> 3. "Lock eyes with your [partner]. You're going to walk a little circle
> around your [neighbor], while looking at your partner.
> 4. "[Ravens] take a small step forward, [larks] take a small step back."
> 5. "Keep your eyes on your partner. Ravens, step to your left and larks
> step to your right, sliding past your neighbor."
> 6. "Now larks step forward and ravens step back; larks step right and
> ravens step left, sliding past your neighbor again."
> 7. "You're back where you started, hooray! Now let's try that up to
> speed..." etc.
>
> On Mon, Sep 24, 2018 at 12:39 PM Don Veino via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> As may be obvious, I love Mad Robins. I'm still working on what is the
>> best way to teach them.
>>
>> [snip]
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Re: [Callers] Teaching a Mad Robin

[Maia McCormick via Callers]

Oh man, I'm excited to hear others' response to this question, because I've
also struggled with this. For a while I used "dosido; now walk that same
path while looking at your partner" and found it to be... less effective
with the beginners than I wanted it to be.

Honestly, sometimes I demo it, especially if there's something interesting
that comes after--while it definitely CAN be taught from the mic, sometimes
a demo is just clearer.

When teaching it from the mic, I've taken to doing it like this:
1. "This is another of those fancy moves that gets you right back where you
started. *At the end of this move, you'll be right back here*."
2. "So it's important to *stay on the side of your set*. Lots of people
feel like they should cross. Don't."
3. "Lock eyes with your [partner]. You're going to walk a little circle
around your [neighbor], while looking at your partner.
4. "[Ravens] take a small step forward, [larks] take a small step back."
5. "Keep your eyes on your partner. Ravens, step to your left and larks
step to your right, sliding past your neighbor."
6. "Now larks step forward and ravens step back; larks step right and
ravens step left, sliding past your neighbor again."
7. "You're back where you started, hooray! Now let's try that up to
speed..." etc.

On Mon, Sep 24, 2018 at 12:39 PM Don Veino via Callers <
callers@lists.sharedweight.net> wrote:

> As may be obvious, I love Mad Robins. I'm still working on what is the
> best way to teach them.
>
> I know about the "Dosido/now face your Partner/on the same path as the
> Dosido, do a Mad Robin" approach and have used it.
>
> I've heard other callers I admire admonish to not use the "wrong" move as
> a teaching tool for the "right" move - as it's that much harder to
> "unlearn" the original bit.
>
> What I've observed is that newer dancers may end up focused on the wrong
> person, facing the wrong direction, and possibly doing the "Dosido Twirl"
> when using the Dosido teach. But they *do* follow the correct path (so
> long as the caller remembers to say SeeSaw vs. Dosido as the correct
> analogue) on the floor. Some can make the facing adjustment and some
> persist in facing the wrong way. If the dance tolerates the facing
> differences, all is OK.
>
> As a practice, I actively solicit feedback on my calling at each gig. Out
> of a recent one I got into an extended discussion about the Mad Robin teach
> with a dancer whom had struggled with their beginner partner in a sequence
> that evening. I had read that crowd as highly experienced so did only a
> basic teaching of the move, which they reported having not got through to
> this beginner. They freely offered that all was well around them, it was
> just a frustration in their own experience. We touched on the merits and
> drawbacks of the Dosido teach (which I chose not to use in that situation
> as it appears to annoy experienced dancers, plus because of the above
> points).
>
> I'm trying to evolve to something that teaches both the correct motion and
> the facing direction at the same time - *without* taxing experienced
> folks' patience. I have my own ideas on this but welcome others'.
>
> So, how do *you* teach a Mad Robin most effectively and efficiently? Do
> you vary it by context, crowd composition, other factors?
>
> Thanks,
> Don
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[Callers] Teaching a Mad Robin

[Don Veino via Callers]

As may be obvious, I love Mad Robins. I'm still working on what is the best
way to teach them.

I know about the "Dosido/now face your Partner/on the same path as the
Dosido, do a Mad Robin" approach and have used it.

I've heard other callers I admire admonish to not use the "wrong" move as a
teaching tool for the "right" move - as it's that much harder to "unlearn"
the original bit.

What I've observed is that newer dancers may end up focused on the wrong
person, facing the wrong direction, and possibly doing the "Dosido Twirl"
when using the Dosido teach. But they *do* follow the correct path (so long
as the caller remembers to say SeeSaw vs. Dosido as the correct analogue)
on the floor. Some can make the facing adjustment and some persist in
facing the wrong way. If the dance tolerates the facing differences, all is
OK.

As a practice, I actively solicit feedback on my calling at each gig. Out
of a recent one I got into an extended discussion about the Mad Robin teach
with a dancer whom had struggled with their beginner partner in a sequence
that evening. I had read that crowd as highly experienced so did only a
basic teaching of the move, which they reported having not got through to
this beginner. They freely offered that all was well around them, it was
just a frustration in their own experience. We touched on the merits and
drawbacks of the Dosido teach (which I chose not to use in that situation
as it appears to annoy experienced dancers, plus because of the above
points).

I'm trying to evolve to something that teaches both the correct motion and
the facing direction at the same time - *without* taxing experienced folks'
patience. I have my own ideas on this but welcome others'.

So, how do *you* teach a Mad Robin most effectively and efficiently? Do you
vary it by context, crowd composition, other factors?

Thanks,
Don
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Re: [Callers] Callers Digest, Vol 53, Issue 14

[Steven Janowiecki via Callers]

Hi Keith,

Nice dance! I think the notes in your email are different from the
animation though. In the first part of B2, your animation shows the men
allemanding with each other, not with their next neighbors (who would be
ladies). Is the intended instruction? It's a fun idea. Next time I am
calling to a group of capable dancers, I'll give it a try.

A similar figure with the gent-only interaction moving up/down the line
also occurs in Jim Hemphill's "Steam Train" and "Raindrops on a Chain" (
http://www.childgrove.org/mo-dances/jim-hemphill ). I've been trying to
write a variation on Steam Train which alternates between the women doing
the key figure (same-sex interaction up the line) and the men (as written),
but it hasn't quite converged yet

Steven

On Mon, Sep 24, 2018 at 2:54 AM 
wrote:

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>1. New dance, new move (Keith Wood)
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> --
>
> Message: 1
> Date: Sun, 23 Sep 2018 15:27:15 +1000
> From: Keith Wood 
> To: callers@lists.sharedweight.net
> Subject: [Callers] New dance, new move
> Message-ID: 
> Content-Type: text/plain; charset=utf-8; format=flowed
>
> Hi Everyone
>
> My latest dance for your enjoyment, with an animation at
> http://www.dancekaleidoscope.org.au/dance.html#Ophidian.
>
> Ophidian
> Keith Wood September 2018
> Becket formation, double reverse progression
>
> The snakelike move for the men to reunite with their partners inspired
> this dance, and its name. If there's a spare couple at the bottom they
> wait together on the "men's" line. The woman joins in from the diagonal
> ladies chain, while the man joins in from the snake.
>
> A1 ?? Men allemande left once around, while women orbit clockwise half-way
>  ? ?? ?? Swing opposite
> A2??? On the left diagonal, ladies chain to shadow
>  ? ?? ?? Opposite do-si-do left shoulder
> B1 ?? Star left once around
>  ? ?? ?? Star right once around
> B2 ?? Snake: Men allemande right 5/8, next neighbour allemande left 1/2,
> next neighbour allemande right 1/2 to face partner; man coming out at
> the end loop right and rejoin immediately
>  ? ?? ?? Swing partner
>
> Cheers
>
> Keith
>
> ---
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>
>
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>
> Subject: Digest Footer
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> End of Callers Digest, Vol 53, Issue 14
> ***
>
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