Kalia,
Last month @ Pinewoods George Marshall was calling the afternoon
contra sessions @ E & A. Lots of fun & really interesting dances.
On some of the beckets, where the cpl out at the end (whether partners
or neighbors) needed to stay right where they are, he taught/called,
'stand where you l
To first approximation, any time there is activity outside the minor set
there is an end effect. How confusing it is depends in large part on
often the dancers have encountered that effect.
There are dances where you work our way up and down the set turning or
passing by second, third, or eve
There have been a bunch of discussions on end effects off and on.
I like the calls Paul mentioned below, that you can use for when people
are out and in, etc. So, I'm pretty dang sure I'll use the "stand where
you land" call, and that "for those who can," too.
As far as understanding and tea
Hi everyone, Here's another thing I often say from the stage. It applies to end
effects but other times as well.. "If you aren't sure what to do and someone
comes towards you who looks like he/she DOES KNOW what to do,... GO WITH IT!!
and you'll probably be OK"
As Erik points out, dancers who
I've used "Go where the dance needs you" many many times. Sometimes it
works, but at Erik said, the couples in the middle tend to ignore any
comments about the ends . . . until they get there. Kind of the nature
of the contra dance.
But "Stand where you land" is a very nice and pithy call. I'
On Wed, Sep 18, 2013, Ben Hornstein wrote:
>
> "Feline dislocation syndrome" sounds like a good name for a dance.
>
> A1) balance and jump onto your partner's lap (4)
> sit there uncomfortably (12)
> A2) jump off and wander anywhere (16)
>
> B1) take a nap (16)
>
> B2) keep walking around the ha
Hey all,
Just wanted to reconfirm that George Marshall gets credit for "stand
where you land".
It was the first place I heard it. George, hope you don't mind :-)
best,
Paul
A quick thought on "backwards becket", which is the starting formation of
one of my dances as well - i tend to think of it as "becket indecent"
since that regularizes the term with other formation terms, implying lady
on the gent's left. The basic list of course - proper, improper, indecent,
impro
Regarding forwards, backwards, proper, improper, and modern names...
First there was Proper, all men on one side, all women on the other.
Then Hands Four, or Hands Six and the Minor Set
Then there was Improper, where the ones cross over: now the man has
his partner in his left hand,
I take from this that as you exit the formation, you would stay where you are,
not changing places, or moving to one side or the other. "Stand where you land"
is fine if that is the case. But it's not always the case in a becket dance.
I'm probably just stating the obvious here. Nice phrase, whe
For dancers, Becket means line up with your partner on the side of the set.
They do not care if it is clockwise or counterclockwise--the walk through
should send them in the correct direction.
A few Becket dances are ambiguous to dancers as to where to go when the
progression occurs. For such d
Paul wrote:
> Just wanted to reconfirm that George Marshall gets credit for "stand
> where you land".
> It was the first place I heard it. George, hope you don't mind :-)
>
Oh Dear! Does George Marshall own the copyright for "Stand where you land?"
Calling is getting so complicated now.
- Gre
I agree with Michael -- that dancers really don't care if a becket
progresses CW or CCW. Actually, IMO using a term to describe the
direction of progression one more piece of information that takes away
from our attempt to use as few carefully-chosen words as possible. I
just teach the dance, a
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