Well said Tavi!
Andrea
Sent from my iPhone
On Mar 17, 2012, at 1:43 PM, tavi merrill wrote:
> To pick up on John's point from this side of the pond, there are plenty of
> duple improper dances that end with a partner swing for the active couples.
>
> There are quite a few dances which could be
To pick up on John's point from this side of the pond, there are plenty of
duple improper dances that end with a partner swing for the active couples.
There are quite a few dances which could be started in either becket
formation or duple improper, allowing further scope in the pairing of dance
an
I assumed the lurch he was talking about was the pulling into the
swing. I'm not sure what the pedagogical (or Terpsichorean) advantage
is in describing it as something willfully inelegant, but I do think
that's what he's referring to.
When I teach beginners, I describe the point of the bal
I agree. A balance may be a number of different things, but it is
definitely not a lurch,
at least as I understand the term.
This is one of a number of points I intended to raise in response to
Colin's article,
but I haven't yet gotten around to a due reading and finding the time to
reply.
Som
Hi Tavi
Try this one
Shuttlecock 32b American/Irish/Scot Reels
Lw Duple BeckettDouble Progression J Turner
NB Your shadow is on the Gents L & the Ladies R in your own line or, if
you're at the ends of the set, across the set.
A1. Long lines fwd & back,
In 4s
In his article Colin Hume says that the balance before a swing is "more
of a lurch". But I would disagree.
My experience is that most dancers do some sort of footwork - they step
forward with a 1-2-3 and back with a 1-2-3 or do a step and kick across
or anything else they fancy in the way of footw
