During an allemande, dancers should think of their arn as a
spring--neither the elbow nor is rigid.Without instruction, most
beginners will keep one or both rigid
On Wed, Jan 17, 2024 at 7:39 PM Read Weaver via Contra Callers <
contracallers@lists.sharedweight.net> wrote:
> I quite like Al
I quite like Alan’s tetherball pole, something I’ll keep in mind.
I’ve so rarely found anyone giving too much weight that I’ve thought the
objections to the term were theoretical rather than practical, but perhaps I’ve
been lucky (or give too much weight myself). It has occurred to me that “taki
Winston, Alan P. wrote:
> Over in English dance land, Bruce Hamilton used to describe the amount of
> pulling force as
[Stuff deleted]
Alan, I particularly like the understandable reference to a tetherball pole. I
think it's easy for anyone to comprehend what might happen if one used the same
Thus the perils of all language. Because of my personal ways of thinking
(somewhat twisted in physics labs and engineering classes, alas), the words
“weight” and “pressure” have precise mechanical meanings. As they have been
used in some of these examples, they have helped me and others improve
the
I am sorry, but I disagree with anything that says to put pressure into
connection. Why would you need to push up or down when holding hands in a
circle? Why would you need to pull in an Allemande?
Hold your hand in space in the correct position for the move and support it
there with your o
activities for helping dancers improve their skills? Hi
Emily, Two of the most important skills to teach are Swings and
Allemandes. They are very frequent and often danced very badly.
You can see some of my teaching notes at
http://contrafusion.co.uk/Dances/AlliesMan
> From: Katherine Kitching via Contra Callers <
> contracallers@lists.sharedweight.net>
> Sent: Tuesday, January 16, 2024 12:49 PM
> To: John Sweeney
> Cc: 'Shared Weight Contra Callers'
> Subject: [Callers] Re: Workshop activities for helping dancers impr
round, and
you should offer only a degree of tension/connection you can tolerate.
-- Alan
From: Katherine Kitching via Contra Callers
Sent: Tuesday, January 16, 2024 12:49 PM
To: John Sweeney
Cc: 'Shared Weight Contra Callers'
Subject: [Callers
25 362 &
07802 940 574
http://www.contrafusion.co.uk for Dancing in Kent
*From:*Joseph Erhard-Hudson
*Sent:* 16 January 2024 19:12
*To:* John Sweeney
*Cc:* Shared Weight Contra Callers
*Subject:* Re: [Callers] Re: Workshop activities for helping dancers
improve their skills?
Joh
01233 625 362 & 07802 940
574
http://www.contrafusion.co.uk for Dancing in Kent
From: Joseph Erhard-Hudson
Sent: 16 January 2024 19:12
To: John Sweeney
Cc: Shared Weight Contra Callers
Subject: Re: [Callers] Re: Workshop activities for helping danc
John,
Thanks for sharing your teaching notes with us.
I’m intrigued by one paragraph in particular:
*Connect and relax. Be responsible for your own weight! Don't "Give
weight"! Keep your arms firm but elastic.*
Since “give weight” has been customary parlance for maintaining firm
connection (at
Hi Emily,
Two of the most important skills to teach are Swings and
Allemandes. They are very frequent and often danced very badly.
You can see some of my teaching notes at
http://contrafusion.co.uk/Dances/AlliesMan.html with links to my Allemandes and
Swings pag
Years ago Marlin Powell did that last exercise at Chehalis Dance Camp in
B.C., Canada. It was really fun. I was one of those left in the hall
learning the dance. It was a fun challenge to use our silent communication
skills with those who had not been taught. That's the only thing I remember
from t
For the latter exercise, Sarah VanNorstrand led same sort of thing last
June at Lady of the Lake.
She had us take hands four and cross over (duple improper), then sent one
entire side of the set out of the room. She taught the dance to the
remaining folks while we were gone. I’m not sure whether s
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