Personally for me, the standard ballroom swing helps me to "flip the
switch" in the brain on which side of the swing I'm "supposed to" end on
(assuming we're not switching roles back and forth for fun lol). If my left
arm is the "pointy arm," I'm ending on the left; if my right arm is the
"pointy
"At the time, it almost never happened that the one in the lady's role
actually swung like a lady. I'm not sure when that became the norm."
When I started dancing both roles, around 2005, I remember initially doing
it as you said, with gender-neutral swings with the gents I encountered. I
I love the barrel hold, but some of my partners have reacted in a way that
indicated it was too intimate for them. This is especially true if I have
to lean over to do it, as that puts my face pretty close to theirs (I'm
pretty tall). It's also difficult to do without frontal contact if one or
David K’s Reel by Bob Isaacs is a double progression dances that uses the
Mary K's signature move for both the Larks and Robins.
On Thu, Mar 21, 2024, 1:54 PM Don Veino via Contra Callers <
contracallers@lists.sharedweight.net> wrote:
> Hi,
>
> I'm calling a session at NEFFA next month where
Hi,
I'm calling a session at NEFFA next month where we're honoring David
Kaynor's contribution in music and dance. The band has a relationship with
David and will be playing his music.
I've searched for David's dances and have several I've called before. What
I'm seeking are recommendations for
At the last couple of dances in the last few days, I thought about this
email thread and observations.
Short and simple:
A "barrel hold" swing:
- Seemed to provide a little bit more space than a ballroom hold
- One neighbor offered it (by chance) really clearly, as a lark, with his
left arm
