For some dancers, the joy of a dance may be in figuring out the end
effects for themselves. There are great *aha* moments that are
possible when dancers see for themselves how the dance "works".
Perhaps your workshop, Jack, might put this idea to use.what about
presenting dances, and
Jim Hemphill wrote:
> Many of the dance weekend caliber callers seem to take a very cavalier
> approach
>
While it is true that “dance weekend caliber callers” often have little
opportunity to deal with some of the challenges inherent in our open public
contra dances, many of them have great
Hello Colin:
Which of my dances left you totally lost at the end ?
I think writing a dance that leaves Colin Hume lost at the end is
quite an achievement :-)
I will plead innocent to specializing in weird end effects--all the dances were
written without consideration of what the end
On Sat, 29 Jun 2013 01:33:45 -0400, Jack Mitchell wrote:
> My goal in the workshop would be to give people tools that they can
> use to make sense of at least a large subset of dances with
> challenging end effects by trying to come up with the smallest
> number of general categories of end
On Fri, 28 Jun 2013 16:05:58 -0700, Alan Winston wrote:
> The Bishop (gypsy is historically questionable)
>
> (If your fiddler doesn't like any of those tunes - and I hear "the
> Bishop" can be a bear to play - it would be period practice to use
> the figures with a different tune.)
It's not
My goal in the workshop would be to give people tools that they can use
to make sense of at least a large subset of dances with challenging end
effects by trying to come up with the smallest number of general
categories of end effects / coping skills possible, and avoiding having
to give
Actually this strikes me a bad idea for a workshop.
Dances with challenging end effects have such because of the interesting stuff
within the dances.
Dancers will not be enlightened by the end effects.
So just do a workshop of advanced dances.
Dancers just will remember at most one or two
