strathspey Archive: "Back to dancing"

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"Back to dancing"

Message 34684 · Volleyballjerry · 1 Apr 2003 17:37:38 · Top

Pia writes:

"Can we get back to dancing please."

But one mention of the Confederate flag by me, simply to point out that
"Union Flag" already has a different longstanding meaning to Americans,
brings immediate multiple (and admittedly very interesting) response. Two
recent attempts, however, at getting some response on "finishing the step,"
which I still truly see as a major conflicting issue in terms of R.S.C.D.S.
orthodoxy vs. practice, and it's a total flop!

Robb Quint
Thousand Oaks, CA, USA

"Back to dancing"

Message 34685 · Marilynn Knight · 1 Apr 2003 17:49:20 · Top

Timing is everything.....:)(when you are trying to sell an anything...)

-----Original Message-----
From: Volleyballjerry@aol.com [mailto:Volleyballjerry@aol.com]
Sent: Tuesday, April 01, 2003 10:37 AM
To: strathspey@strathspey.org
Subject: "Back to dancing"

Pia writes:

"Can we get back to dancing please."

But one mention of the Confederate flag by me, simply to point out that
"Union Flag" already has a different longstanding meaning to Americans,
brings immediate multiple (and admittedly very interesting) response. Two
recent attempts, however, at getting some response on "finishing the step,"
which I still truly see as a major conflicting issue in terms of R.S.C.D.S.
orthodoxy vs. practice, and it's a total flop!

Robb Quint
Thousand Oaks, CA, USA

"Back to dancing"

Message 34686 · Volleyballjerry · 1 Apr 2003 18:14:16 · Top

Strange, Marilynn, that I've already received your message with this message
of mine attached, but haven't yet received from the Strathspey my message
itself. Beyond that, I have to admit, though I may well be missing something
very obvious, that I can't understand the point that you are making (which I
definitely don't mean to sound nasty or sarcastic or anything like that--it's
just simply not "clicking").

Robb

In a message dated 04/01/2003 7:49:43 AM Pacific Standard Time,
marilynnk@scchamber.net writes:

> Subj:RE: "Back to dancing"
> Date:04/01/2003 7:49:43 AM Pacific Standard Time
> From:<A HREF="mailto:marilynnk@scchamber.net">marilynnk@scchamber.net</A>
> Reply-to:<A HREF="mailto:strathspey@strathspey.org">strathspey@strathspey.org</A>
> To:<A HREF="mailto:strathspey@strathspey.org">strathspey@strathspey.org</A>
> Sent from the Internet
>
>
>
> Timing is everything.....:)(when you are trying to sell an anything...)
>
> -----Original Message-----
> From: Volleyballjerry@aol.com [mailto:Volleyballjerry@aol.com]
> Sent: Tuesday, April 01, 2003 10:37 AM
> To: strathspey@strathspey.org
> Subject: "Back to dancing"
>
> Pia writes:
>
> "Can we get back to dancing please."
>
> But one mention of the Confederate flag by me, simply to point out that
> "Union Flag" already has a different longstanding meaning to Americans,
> brings immediate multiple (and admittedly very interesting) response. Two
> recent attempts, however, at getting some response on "finishing the step,"
>
> which I still truly see as a major conflicting issue in terms of R.S.C.D.S.
>
> orthodoxy vs. practice, and it's a total flop!
>
> Robb Quint
> Thousand Oaks, CA, USA
>

"Back to dancing"

Message 34687 · Marilynn Knight · 1 Apr 2003 18:23:41 · Top

Robb,
I didn't mean anything nasty or sarcastic at all, just that the flag
discussion may have something to do with the current international focus,
whereas the dance issue you justifiably raised might resonate more at
another time. I find it fascinating that timing really is an important
factor, not just in the world of obvious selling, but also in general
transaction which I consider a less obvious world of selling, as in ideas...
Sorry. I read and respond here at work to 'strathspey...' and always know
that I might be misunderstood. Thanks for asking for clarification.
Sometimes, when it feels as if I've been misunderstood I confess I just let
it go, maybe for lack of energy to explain......
Best,
Marilynn Latta Knight
SC/USA....who's been up already almost 12 hours, as I'm addicted to Radio
BBC from midnight on, as I struggle to grapple with this planet we dance
on....while others, regrettably, are caught up in war....

-----Original Message-----
From: Volleyballjerry@aol.com [mailto:Volleyballjerry@aol.com]
Sent: Tuesday, April 01, 2003 11:14 AM
To: strathspey@strathspey.org
Subject: Re: "Back to dancing"

Strange, Marilynn, that I've already received your message with this message

of mine attached, but haven't yet received from the Strathspey my message
itself. Beyond that, I have to admit, though I may well be missing
something
very obvious, that I can't understand the point that you are making (which I

definitely don't mean to sound nasty or sarcastic or anything like
that--it's
just simply not "clicking").

Robb

In a message dated 04/01/2003 7:49:43 AM Pacific Standard Time,
marilynnk@scchamber.net writes:

> Subj:RE: "Back to dancing"
> Date:04/01/2003 7:49:43 AM Pacific Standard Time
> From:<A HREF="mailto:marilynnk@scchamber.net">marilynnk@scchamber.net</A>
> Reply-to:<A
HREF="mailto:strathspey@strathspey.org">strathspey@strathspey.org</A>
> To:<A
HREF="mailto:strathspey@strathspey.org">strathspey@strathspey.org</A>
> Sent from the Internet
>
>
>
> Timing is everything.....:)(when you are trying to sell an anything...)
>
> -----Original Message-----
> From: Volleyballjerry@aol.com [mailto:Volleyballjerry@aol.com]
> Sent: Tuesday, April 01, 2003 10:37 AM
> To: strathspey@strathspey.org
> Subject: "Back to dancing"
>
> Pia writes:
>
> "Can we get back to dancing please."
>
> But one mention of the Confederate flag by me, simply to point out that
> "Union Flag" already has a different longstanding meaning to Americans,
> brings immediate multiple (and admittedly very interesting) response. Two

> recent attempts, however, at getting some response on "finishing the
step,"
>
> which I still truly see as a major conflicting issue in terms of
R.S.C.D.S.
>
> orthodoxy vs. practice, and it's a total flop!
>
> Robb Quint
> Thousand Oaks, CA, USA
>

"Back to dancing"

Message 34689 · Pia Walker · 1 Apr 2003 19:22:36 · Top

of course you should finish your step - or else you would fall over ! And
during the dance, if you don't, you will be too early for the next step.

:>) :>) :>)

Pia
----- Original Message -----
From: <Volleyballjerry@aol.com>
To: <strathspey@strathspey.org>
Sent: Tuesday, April 01, 2003 3:37 PM
Subject: "Back to dancing"

> Pia writes:
>
> "Can we get back to dancing please."
>
> But one mention of the Confederate flag by me, simply to point out that
> "Union Flag" already has a different longstanding meaning to Americans,
> brings immediate multiple (and admittedly very interesting) response. Two
> recent attempts, however, at getting some response on "finishing the
step,"
> which I still truly see as a major conflicting issue in terms of
R.S.C.D.S.
> orthodoxy vs. practice, and it's a total flop!
>
> Robb Quint
> Thousand Oaks, CA, USA
>

"Back to dancing"

Message 34690 · Marilynn Knight · 1 Apr 2003 21:01:57 · Top

Oh, Pia!!! You convulse me at the thought of SCD dancers falling over at
the end of each dance, how Pythonesque!!!

-----Original Message-----
From: Pia Walker [mailto:piawalke@nascr.net]
Sent: Tuesday, April 01, 2003 11:38 AM
To: strathspey@strathspey.org
Subject: Re: "Back to dancing"

of course you should finish your step - or else you would fall over ! And
during the dance, if you don't, you will be too early for the next step.

:>) :>) :>)

Pia
----- Original Message -----
From: <Volleyballjerry@aol.com>
To: <strathspey@strathspey.org>
Sent: Tuesday, April 01, 2003 3:37 PM
Subject: "Back to dancing"

> Pia writes:
>
> "Can we get back to dancing please."
>
> But one mention of the Confederate flag by me, simply to point out that
> "Union Flag" already has a different longstanding meaning to Americans,
> brings immediate multiple (and admittedly very interesting) response. Two
> recent attempts, however, at getting some response on "finishing the
step,"
> which I still truly see as a major conflicting issue in terms of
R.S.C.D.S.
> orthodoxy vs. practice, and it's a total flop!
>
> Robb Quint
> Thousand Oaks, CA, USA
>

"Back to dancing"

Message 34693 · Blain Nelson · 1 Apr 2003 22:15:01 · Top

Marilynn Knight wrote:
> Oh, Pia!!! You convulse me at the thought of SCD dancers falling over at
> the end of each dance, how Pythonesque!!!
>

This issue should be referred to the Ministry of Silly Steps immediately!

Take care,
Blain

"Back to dancing"

Message 34703 · Helen P. · 2 Apr 2003 06:55:03 · Top

I guess y'all missed this 'un:
>
From: "Helen P." <leap@mindspring.com>
Sent: Friday, March 28, 2003 7:50 PM
Subject: Re: "Finishing" the last step?
>
> Personally, I'm in favor of footwork that keeps folks from falling over at
> the end. It's so messy to have all those bodies scattered about the
floor.
> <g>

Eric the 'alf a Stepper might have a few words on the matter, too.

Now you've got me thinking of writing "The Bowling Ball Reel", with 9 people
in a triangular set plus one more dancing a fast track . . .

-- Helen (MD USA)

----- Original Message -----
From: "Blain Nelson" <blainn13@earthlink.net>
Sent: Tuesday, April 01, 2003 3:15 PM
Subject: Re: "Back to dancing"

> Marilynn Knight wrote:
> > Oh, Pia!!! You convulse me at the thought of SCD dancers falling over
at
> > the end of each dance, how Pythonesque!!!
>
> This issue should be referred to the Ministry of Silly Steps immediately!
>
> Take care,
> Blain

"Back to dancing"

Message 34706 · Garth Martens · 2 Apr 2003 09:40:17 · Top

IMHO, finishing the step at the end of dance, in fact, finishing the step anywhere, is the mark of a good dancer. Sure, if there are certain people who simply aren't good dancers and can't do it, they must then resort to bad habits they've picked up, but the mark of good dancer is being ON TIME, and if they are ON TIME, there is no problem with finishing the step at the end of the dance appropriately. If they feel like they are falling over, they are not carrying themselves properly, and must then take this up to their teacher who has not addressed this element of dance.
There is a large difference between teaching dances, and teaching HOW to dance. Personally, it doesn't matter what dances I know, I would rather know how to dance. Once this is in place, I would then be insurmountable.
There are FAR too many *dancers* who know hundreds of dances but don't know how to dance. They are too preoccupied with getting to the end, and often don't appreciate the act of the dance with a delightful partner.
If someone doesn't dance in time, they simply aren't dancing. It doesn't matter what type of dance you do, if you aren't in time, you're out to lunch. The music is there for a reason. If proper phrasing and understanding of the music is in place, then the last step should be no problem.
Good day,

Garth Martens

---------------------------------
Post your free ad now! Yahoo! Canada Personals

"Back to dancing"

Message 34709 · Richard S. Henderson · 2 Apr 2003 10:50:57 · Top

Garth Martens wrote:

"There are FAR too many *dancers* who know hundreds of dances but don't know
how to dance."

I find it difficult in the extreme to accept that there are or could
conceivably be far too many dancers of any description (except when the
dance-floor is over-crowded, of course). Some dancers, of whom Garth is
clearly one, enjoy immensely the process of dancing properly. Others are
either hopelessly inept, and could never manage a step correctly in a
million years, or simply don't care very much. So?

Let me give an example from my own acquaintance. They are a lovely couple,
both apparently devoid of a sense of rhythm. She does her best, but isn't
with the music, and is apparently not aware of the fact. He is much worse,
and tends to get from place to place in an odd little random running step,
regardless. Frankly, it beats me what they get out of SCD, but they clearly
DO enjoy it immensely, and have been "dancing" for a decade or so. They
therefore know many of our standard dances far better than most, but would
make the readers of this missive blanch.

I for one am not going to chase them away with cries of "far too many". Nor
the other social dancers whose interest in the "details" of SCD is minimal.
As long as the means to improve are there, it is rightly up to each and
every dancer to set his or her own targets of competence in different
respects. And when my set is a couple or two short, I will be duly grateful
for any and all "who know hundreds of dances".

Richard Henderson

"Back to dancing"

Message 34710 · Pia Walker · 2 Apr 2003 11:58:41 · Top

And that is the good thing about SCD - whatever your personal technique, it
doesn't matter -although we dance with others, we are not in close personal
clinches with anyone, therefore a superb dancer can dance with all us other
dancers without his/her personal standard dropping, and if they are superb
dancers as well as team players :>) then they should be able to support a
weaker set and help less abled to achieve their goal which presuambly is
getting to the right place at approximately the right time :>)

Pia

----- Original Message -----
From: "Richard S. Henderson" <rsh@myrealbox.com>
To: <strathspey@strathspey.org>
Sent: Wednesday, April 02, 2003 8:50 AM
Subject: RE: "Back to dancing"

> Garth Martens wrote:
>
> "There are FAR too many *dancers* who know hundreds of dances but don't
know
> how to dance."
>
> I find it difficult in the extreme to accept that there are or could
> conceivably be far too many dancers of any description (except when the
> dance-floor is over-crowded, of course). Some dancers, of whom Garth is
> clearly one, enjoy immensely the process of dancing properly. Others are
> either hopelessly inept, and could never manage a step correctly in a
> million years, or simply don't care very much. So?
>
> Let me give an example from my own acquaintance. They are a lovely
couple,
> both apparently devoid of a sense of rhythm. She does her best, but isn't
> with the music, and is apparently not aware of the fact. He is much
worse,
> and tends to get from place to place in an odd little random running step,
> regardless. Frankly, it beats me what they get out of SCD, but they
clearly
> DO enjoy it immensely, and have been "dancing" for a decade or so. They
> therefore know many of our standard dances far better than most, but would
> make the readers of this missive blanch.
>
> I for one am not going to chase them away with cries of "far too many".
Nor
> the other social dancers whose interest in the "details" of SCD is
minimal.
> As long as the means to improve are there, it is rightly up to each and
> every dancer to set his or her own targets of competence in different
> respects. And when my set is a couple or two short, I will be duly
grateful
> for any and all "who know hundreds of dances".
>
> Richard Henderson
>
>

"Back to dancing"

Message 34751 · Andrew Smith · 3 Apr 2003 09:00:07 · Top

Pia wrote:
>therefore a superb dancer can dance with all us other
> dancers without his/her personal standard dropping, and if they are superb
> dancers as well as team players :>) then they should be able to support a
> weaker set and help less abled to achieve their goal which presuambly is
> getting to the right place at approximately the right time :>)
And as Shakespeare wrote, "Aye, there's the rub".
I have seen on more than one occasion, a very good dancer (technically) sail
through a set that was in tatters, obviously single-mindedly determined to
complete their own part of the dance irrespective of the developing chaos.
IMHO this immediately takes them out of the "very good dancer" category.
Andrew
Bristol, UK.

----- Original Message -----
From: "Pia Walker" <piawalke@nascr.net>
To: <strathspey@strathspey.org>
Sent: Wednesday, April 02, 2003 10:16 AM
Subject: Re: "Back to dancing"

> And that is the good thing about SCD - whatever your personal technique,
it
> doesn't matter -although we dance with others, we are not in close
personal
> clinches with anyone, therefore a superb dancer can dance with all us
other
> dancers without his/her personal standard dropping, and if they are superb
> dancers as well as team players :>) then they should be able to support a
> weaker set and help less abled to achieve their goal which presuambly is
> getting to the right place at approximately the right time :>)
>
> Pia
>
>
>
> ----- Original Message -----
> From: "Richard S. Henderson" <rsh@myrealbox.com>
> To: <strathspey@strathspey.org>
> Sent: Wednesday, April 02, 2003 8:50 AM
> Subject: RE: "Back to dancing"
>
>
> > Garth Martens wrote:
> >
> > "There are FAR too many *dancers* who know hundreds of dances but don't
> know
> > how to dance."
> >
> > I find it difficult in the extreme to accept that there are or could
> > conceivably be far too many dancers of any description (except when the
> > dance-floor is over-crowded, of course). Some dancers, of whom Garth is
> > clearly one, enjoy immensely the process of dancing properly. Others
are
> > either hopelessly inept, and could never manage a step correctly in a
> > million years, or simply don't care very much. So?
> >
> > Let me give an example from my own acquaintance. They are a lovely
> couple,
> > both apparently devoid of a sense of rhythm. She does her best, but
isn't
> > with the music, and is apparently not aware of the fact. He is much
> worse,
> > and tends to get from place to place in an odd little random running
step,
> > regardless. Frankly, it beats me what they get out of SCD, but they
> clearly
> > DO enjoy it immensely, and have been "dancing" for a decade or so. They
> > therefore know many of our standard dances far better than most, but
would
> > make the readers of this missive blanch.
> >
> > I for one am not going to chase them away with cries of "far too many".
> Nor
> > the other social dancers whose interest in the "details" of SCD is
> minimal.
> > As long as the means to improve are there, it is rightly up to each and
> > every dancer to set his or her own targets of competence in different
> > respects. And when my set is a couple or two short, I will be duly
> grateful
> > for any and all "who know hundreds of dances".
> >
> > Richard Henderson
> >
> >
>
>
>

"Back to dancing"

Message 34757 · Pia Walker · 3 Apr 2003 11:13:44 · Top

You mean a student from the Lady Bracknell school of dancing

Pia
----- Original Message -----
From: "Andrew Smith" <afsmith@bristolbs94lx.freeserve.co.uk>
To: <strathspey@strathspey.org>
Sent: Thursday, April 03, 2003 6:45 AM
Subject: Re: "Back to dancing"

> Pia wrote:
> >therefore a superb dancer can dance with all us other
> > dancers without his/her personal standard dropping, and if they are
superb
> > dancers as well as team players :>) then they should be able to support
a
> > weaker set and help less abled to achieve their goal which presuambly is
> > getting to the right place at approximately the right time :>)
> And as Shakespeare wrote, "Aye, there's the rub".
> I have seen on more than one occasion, a very good dancer (technically)
sail
> through a set that was in tatters, obviously single-mindedly determined to
> complete their own part of the dance irrespective of the developing chaos.
> IMHO this immediately takes them out of the "very good dancer" category.
> Andrew
> Bristol, UK.
>
> ----- Original Message -----
> From: "Pia Walker" <piawalke@nascr.net>
> To: <strathspey@strathspey.org>
> Sent: Wednesday, April 02, 2003 10:16 AM
> Subject: Re: "Back to dancing"
>
>
> > And that is the good thing about SCD - whatever your personal technique,
> it
> > doesn't matter -although we dance with others, we are not in close
> personal
> > clinches with anyone, therefore a superb dancer can dance with all us
> other
> > dancers without his/her personal standard dropping, and if they are
superb
> > dancers as well as team players :>) then they should be able to support
a
> > weaker set and help less abled to achieve their goal which presuambly is
> > getting to the right place at approximately the right time :>)
> >
> > Pia
> >
> >
> >
> > ----- Original Message -----
> > From: "Richard S. Henderson" <rsh@myrealbox.com>
> > To: <strathspey@strathspey.org>
> > Sent: Wednesday, April 02, 2003 8:50 AM
> > Subject: RE: "Back to dancing"
> >
> >
> > > Garth Martens wrote:
> > >
> > > "There are FAR too many *dancers* who know hundreds of dances but
don't
> > know
> > > how to dance."
> > >
> > > I find it difficult in the extreme to accept that there are or could
> > > conceivably be far too many dancers of any description (except when
the
> > > dance-floor is over-crowded, of course). Some dancers, of whom Garth
is
> > > clearly one, enjoy immensely the process of dancing properly. Others
> are
> > > either hopelessly inept, and could never manage a step correctly in a
> > > million years, or simply don't care very much. So?
> > >
> > > Let me give an example from my own acquaintance. They are a lovely
> > couple,
> > > both apparently devoid of a sense of rhythm. She does her best, but
> isn't
> > > with the music, and is apparently not aware of the fact. He is much
> > worse,
> > > and tends to get from place to place in an odd little random running
> step,
> > > regardless. Frankly, it beats me what they get out of SCD, but they
> > clearly
> > > DO enjoy it immensely, and have been "dancing" for a decade or so.
They
> > > therefore know many of our standard dances far better than most, but
> would
> > > make the readers of this missive blanch.
> > >
> > > I for one am not going to chase them away with cries of "far too
many".
> > Nor
> > > the other social dancers whose interest in the "details" of SCD is
> > minimal.
> > > As long as the means to improve are there, it is rightly up to each
and
> > > every dancer to set his or her own targets of competence in different
> > > respects. And when my set is a couple or two short, I will be duly
> > grateful
> > > for any and all "who know hundreds of dances".
> > >
> > > Richard Henderson
> > >
> > >
> >
> >
> >
>
>

"Back to dancing"

Message 34762 · Andrew Smith · 3 Apr 2003 12:40:17 · Top

I'm missing your point here, Pia, other than I think there may be an Oscar
Wilde connection, but the person I have in mind is most definitely RSCDS,
without any aristocratic connections as far as I know.
Andrew.

----- Original Message -----
From: "Pia Walker" <piawalke@nascr.net>
To: <strathspey@strathspey.org>
Sent: Thursday, April 03, 2003 9:31 AM
Subject: Re: "Back to dancing"

> You mean a student from the Lady Bracknell school of dancing
>
> Pia
> ----- Original Message -----
> From: "Andrew Smith" <afsmith@bristolbs94lx.freeserve.co.uk>
> To: <strathspey@strathspey.org>
> Sent: Thursday, April 03, 2003 6:45 AM
> Subject: Re: "Back to dancing"
>
>
> > Pia wrote:
> > >therefore a superb dancer can dance with all us other
> > > dancers without his/her personal standard dropping, and if they are
> superb
> > > dancers as well as team players :>) then they should be able to
support
> a
> > > weaker set and help less abled to achieve their goal which presuambly
is
> > > getting to the right place at approximately the right time :>)
> > And as Shakespeare wrote, "Aye, there's the rub".
> > I have seen on more than one occasion, a very good dancer (technically)
> sail
> > through a set that was in tatters, obviously single-mindedly determined
to
> > complete their own part of the dance irrespective of the developing
chaos.
> > IMHO this immediately takes them out of the "very good dancer" category.
> > Andrew
> > Bristol, UK.
> >
> > ----- Original Message -----
> > From: "Pia Walker" <piawalke@nascr.net>
> > To: <strathspey@strathspey.org>
> > Sent: Wednesday, April 02, 2003 10:16 AM
> > Subject: Re: "Back to dancing"
> >
> >
> > > And that is the good thing about SCD - whatever your personal
technique,
> > it
> > > doesn't matter -although we dance with others, we are not in close
> > personal
> > > clinches with anyone, therefore a superb dancer can dance with all us
> > other
> > > dancers without his/her personal standard dropping, and if they are
> superb
> > > dancers as well as team players :>) then they should be able to
support
> a
> > > weaker set and help less abled to achieve their goal which presuambly
is
> > > getting to the right place at approximately the right time :>)
> > >
> > > Pia
> > >
> > >
> > >
> > > ----- Original Message -----
> > > From: "Richard S. Henderson" <rsh@myrealbox.com>
> > > To: <strathspey@strathspey.org>
> > > Sent: Wednesday, April 02, 2003 8:50 AM
> > > Subject: RE: "Back to dancing"
> > >
> > >
> > > > Garth Martens wrote:
> > > >
> > > > "There are FAR too many *dancers* who know hundreds of dances but
> don't
> > > know
> > > > how to dance."
> > > >
> > > > I find it difficult in the extreme to accept that there are or could
> > > > conceivably be far too many dancers of any description (except when
> the
> > > > dance-floor is over-crowded, of course). Some dancers, of whom
Garth
> is
> > > > clearly one, enjoy immensely the process of dancing properly.
Others
> > are
> > > > either hopelessly inept, and could never manage a step correctly in
a
> > > > million years, or simply don't care very much. So?
> > > >
> > > > Let me give an example from my own acquaintance. They are a lovely
> > > couple,
> > > > both apparently devoid of a sense of rhythm. She does her best, but
> > isn't
> > > > with the music, and is apparently not aware of the fact. He is much
> > > worse,
> > > > and tends to get from place to place in an odd little random running
> > step,
> > > > regardless. Frankly, it beats me what they get out of SCD, but they
> > > clearly
> > > > DO enjoy it immensely, and have been "dancing" for a decade or so.
> They
> > > > therefore know many of our standard dances far better than most, but
> > would
> > > > make the readers of this missive blanch.
> > > >
> > > > I for one am not going to chase them away with cries of "far too
> many".
> > > Nor
> > > > the other social dancers whose interest in the "details" of SCD is
> > > minimal.
> > > > As long as the means to improve are there, it is rightly up to each
> and
> > > > every dancer to set his or her own targets of competence in
different
> > > > respects. And when my set is a couple or two short, I will be duly
> > > grateful
> > > > for any and all "who know hundreds of dances".
> > > >
> > > > Richard Henderson
> > > >
> > > >
> > >
> > >
> > >
> >
> >
>
>

"Back to dancing"

Message 34776 · Pia Walker · 3 Apr 2003 16:32:43 · Top

I meant the dancer who dance in a set completely oblivious and disdainfull
of the others. It was a a comment to :

> > I have seen on more than one occasion, a very good dancer (technically)
> sail
> > through a set that was in tatters, obviously single-mindedly determined
to
> > complete their own part of the dance irrespective of the developing
chaos.

Pia
Who is obviously too 'clever' for her own good :>)

----- Original Message -----
From: "Andrew Smith" <afsmith@bristolbs94lx.freeserve.co.uk>
To: <strathspey@strathspey.org>
Sent: Thursday, April 03, 2003 2:40 AM
Subject: Re: "Back to dancing"

> I'm missing your point here, Pia, other than I think there may be an Oscar
> Wilde connection, but the person I have in mind is most definitely RSCDS,
> without any aristocratic connections as far as I know.
> Andrew.
>
> ----- Original Message -----
> From: "Pia Walker" <piawalke@nascr.net>
> To: <strathspey@strathspey.org>
> Sent: Thursday, April 03, 2003 9:31 AM
> Subject: Re: "Back to dancing"
>
>
> > You mean a student from the Lady Bracknell school of dancing
> >
> > Pia
> > ----- Original Message -----
> >

"Back to dancing"

Message 34792 · ron.mackey · 3 Apr 2003 21:35:19 · Top

> I'm missing your point here, Pia, other than I think there may be an Oscar
> Wilde connection, but the person I have in mind is most definitely RSCDS,
> without any aristocratic connections as far as I know.
> Andrew.
>
> ----- Original Message -----

> > You mean a student from the Lady Bracknell school of dancing
> >
> > Pia

I think I know the one you mean, Pia. Definately haughty, remote
and sails through like a ship in full sail!

Happy Dancing
Cheers :)
Ron

Ron Mackey. London Branch (and Croydon)
39, Grove Park Road,
Mottingham
London SE9 4NS

"Back to dancing"

Message 34716 · Garth Martens · 2 Apr 2003 17:01:43 · Top

Sorry - I may have come across differently than I intended. I apologise. I, too, love people dancing from anywhere, from any skill level. I don't mean to suggest that I'm perfect, either. Only that, if a person can pick up certain things easily, then that's delightful. My own class has various interpretations of rhythm within its members at this moment, and I enjoy dancing with each of them. Again, I apologise if I seemed to come across differently than that.
"Richard S. Henderson" <rsh@myrealbox.com> wrote:Garth Martens wrote:

"There are FAR too many *dancers* who know hundreds of dances but don't know
how to dance."

---------------------------------
Post your free ad now! Yahoo! Canada Personals

"Back to dancing"

Message 34721 · Richard Goss · 2 Apr 2003 18:10:52 · Top

"There are FAR too many *dancers* who know hundreds of dances but don't know
> how to dance."

One reason for these "dance junkies" is that to appeal to the "experienced"
dancers, programs are consciously complicated and push a lot of "fad" dances
at the expense of the basic.

These programs drive the classes as beginners want to "belong". Having
taught teachers training classes, I was amazed how many "advanced" dancers
had not a clue as to any hierarchy of basic figures. Often, they could do
the reels in hundreds of dances without knowing how to do a reel, or its
logic.

When dances are taught with no other context than the next social dance,
very little is learned about country dancing.

"Back to dancing"

Message 34734 · SnowshoeTS · 2 Apr 2003 23:20:51 · Top

Marvelously said and quite apppropriate comment on the difference between
teaching "dances " and teaching "dancing"!!!!!!

Thanks

Kirk Bachler

We have met the enemy and he is us!

Components of good dancing

Message 34722 · Adam Hughes · 2 Apr 2003 18:24:41 · Top

Garth set me thinking... (since I was going to make a different
indignant reaction like Richard's ;-))

What does it take to dance well?

How does that differ from the skills needed to be a good dancer?

For the first, I can think of three:
1) A good knowledge (and the ability to exercise that knowledge) of the
dance you are doing, or at least the figures and the segues from one
figure to the next, including phrasing and moving with the music.
2) A good knowledge and practical ability with the steps, including
timing and maintaining rhythm.
3) A good relationship with the other dancers, or at least the ability
to relate to and acknowledge them on the fly.

For the second, I'm not sure.
Dancing *with* the other people is important, I think.
Dancing to the music is important too, I think.
Being able to recover when you make a mistake is important too.
But is knowledge of dances or figures or steps really important?

Components of good dancing

Message 34724 · Adam Hughes · 2 Apr 2003 18:32:00 · Top

Adam Hughes wrote:
> Garth set me thinking... (since I was going to make a different
> indignant reaction like Richard's ;-))
>
> What does it take to dance well?
>
> How does that differ from the skills needed to be a good dancer?
>
> For the first, I can think of three:
> 1) A good knowledge (and the ability to exercise that knowledge) of the
> dance you are doing, or at least the figures and the segues from one
> figure to the next, including phrasing and moving with the music.
> 2) A good knowledge and practical ability with the steps, including
> timing and maintaining rhythm.
> 3) A good relationship with the other dancers, or at least the ability
> to relate to and acknowledge them on the fly.
>
> For the second, I'm not sure.
> Dancing *with* the other people is important, I think.
> Dancing to the music is important too, I think.
> Being able to recover when you make a mistake is important too.
> But is knowledge of dances or figures or steps really important?

Adam
Cambridge, UK.
(I think I got away with it...)

I've got a little list...

Message 34725 · Peter Hastings · 2 Apr 2003 19:20:56 · Top

Given the recent success of those for whom the
reaction to "a good few people don't seem to be doing
this very well" is "abolish it", may I suggest the
following candidates, equally well merited, for
erasure ?

__________________________________________________
Do you Yahoo!?
Yahoo! Tax Center - File online, calculators, forms, and more
http://tax.yahoo.com

I've got a little list...

Message 34729 · Peter Hastings · 2 Apr 2003 19:23:13 · Top

my stupid e-mailer doesn't do tab instructions very
well.

Anyway the list was ...

three beat pas de basque

turn out

strathspey poussette

Would anyone like to add others that we can submit to
the RSCDS for summary deletion ?

Peter Hastings
Murieston
:)

--- Peter Hastings <prhastings@yahoo.com> wrote:
>
> Given the recent success of those for whom the
> reaction to "a good few people don't seem to be
> doing
> this very well" is "abolish it", may I suggest the
> following candidates, equally well merited, for
> erasure ?
>
>
>
> __________________________________________________
> Do you Yahoo!?
> Yahoo! Tax Center - File online, calculators, forms,
> and more
> http://tax.yahoo.com

__________________________________________________
Do you Yahoo!?
Yahoo! Tax Center - File online, calculators, forms, and more
http://tax.yahoo.com

I've got a little list...

Message 34730 · Stella Fogg · 2 Apr 2003 19:42:02 · Top

...so go ceilidh dancing.....................

Stella (with tongue firmly in cheek)
Richmond, VA

> three beat pas de basque
>
> turn out
>
> strathspey poussette
>
> Would anyone like to add others that we can submit to
> the RSCDS for summary deletion ?
>
>
> Peter Hastings
> Murieston
> :)
>
> --- Peter Hastings <prhastings@yahoo.com> wrote:
> >
> > Given the recent success of those for whom the
> > reaction to "a good few people don't seem to be
> > doing
> > this very well" is "abolish it", may I suggest the
> > following candidates, equally well merited, for
> > erasure ?
> >
> >
> >
> > __________________________________________________
> > Do you Yahoo!?
> > Yahoo! Tax Center - File online, calculators, forms,
> > and more
> > http://tax.yahoo.com
>
>
> __________________________________________________
> Do you Yahoo!?
> Yahoo! Tax Center - File online, calculators, forms, and more
> http://tax.yahoo.com

I've got a little list...

Message 34735 · SnowshoeTS · 2 Apr 2003 23:28:33 · Top

One is tempted to add : the giving of hands(quick time and strathspey)
& the use of strong but not rigid arms

I've got a little list...

Message 34736 · SnowshoeTS · 2 Apr 2003 23:31:21 · Top

Sorry- some nameless dummy hit the send buttom too soon:

One is tempted to add : the giving of hands(quick time and strathspey)
                                  & the use of strong but not rigid arms

Kirk Bachler

We have met the enemy and he is us!

I've got a little list...

Message 34737 · Fiona Grant · 3 Apr 2003 00:10:46 · Top

Delete 8 bar reels of 3

Replace with 7.5 bar reels for corners and 8.5 bar reels for dancing couples
crossing over.
Don't forget all dancers must finish with half a step.

Fiona

I've got a little list...

Message 34749 · Steve Wyrick · 3 Apr 2003 03:33:42 · Top

Fiona Grant wrote:

> Delete 8 bar reels of 3
>
> Replace with 7.5 bar reels for corners and 8.5 bar reels for dancing couples
> crossing over.
> Don't forget all dancers must finish with half a step.
>
> Fiona

Remove any requirement for a difference in timing between jig-time and
reel-time steps. Thus things can be simplified by referring only to "fast"
or "slow" dances instead of the inefficient Jig, Reel and Strathspey (sort
of like what the Society has already done by considering the Hornpipe to be
a subset of Reels), and dancers won't be confused by any discussion of 6/8
vs common meter!
--
Steve Wyrick -- Concord, California

I've got a little list...

Message 34750 · Chris1Ronald · 3 Apr 2003 06:56:51 · Top

In a message dated 4/2/03 5:10:48 PM Eastern Standard Time,
fiona@freespiritfilms.co.uk writes:
> Don't forget all dancers must finish with half a step.
>
> And then musicians will stop playing the last half bar, then dancers will
> finish at the end of the bar 31 (in a 32-bar dance) then musicians will
> stop playing at the end of bar 31, and so on, until there is no dance
> left....

My vote is for dancing the whole of the last bar. (Finally replying to the
question Robb posed a couple of weeks ago.)

Chris, New York.

I've got a little list...

Message 34742 · ron.mackey · 3 Apr 2003 01:04:07 · Top


> One is tempted to add : the giving of hands(quick time and strathspey)
>                                   & the use of strong but not rigid arms
>
> Kirk Bachler

I'm a little bit puzzled. If you have nimble feet and move to
the music why should one need strong arms?
I once knew a lady with strong arms - and legs - and torso. The
Colourful Mrs D......t. She would turn on the spot and hurl her
partner round like a bolas! Not pretty! Quite exhausting in fact.
Would have made an excellent Hammer Thrower, though.


Happy Dancing
Cheers :)
Ron

Ron Mackey. London Branch (and Croydon)
39, Grove Park Road,
Mottingham
London SE9 4NS

I've got a little list...

Message 34746 · SnowshoeTS · 3 Apr 2003 02:11:29 · Top

I did noti imply brute strength was at all desireable nor would I enjoy
dancing with an "all in wrestler" but the woman you describe sounds like a
"preferably avoided" partner. Mere nimble feet may make a flashy performer .
I've always thought that SCD was most fun when one interacted with one's
partner and the other people in the set. I am not fond of dancing with bears
or statues but equally unfond of dancing with feather beds or duvets!!

Kirk Bachler

We have met the enemy and he is us!

I've got a little list...

Message 34748 · SnowshoeTS · 3 Apr 2003 02:21:54 · Top

Hi Ron
After I'd sent this I realized that the analogy of a horse with a "good
mouth" and a rider with "good hands" (No sexuo-political implications
intended) would be apt. Communication is the key and hand and arm
communication can be better than words (even kind ,appropriate, accurately
chosen and well intended words). There are analogies that sailors and kite
flyers would understand too!

Kirk Bachler

We have met the enemy and he is us!

I've got a little list...

Message 34768 · Helen P. · 3 Apr 2003 15:09:18 · Top

But ceilidh dances are so short. I mean, after about five minutes, haven't
you've done every type of step and figure...?

Also with tongue firmly in cheek,

Helen (MD USA)
hoping to see Stella and many other at A Capitol Weekend, starting tomorrow!
:-)

From: "Stella Fogg" <stellaf@attbi.com>
Sent: Wednesday, April 02, 2003 12:50 PM

> ...so go ceilidh dancing.....................
>
> Stella (with tongue firmly in cheek)
> Richmond, VA
>
>
> > Would anyone like to add others that we can submit to
> > the RSCDS for summary deletion ?
> >
> > Peter Hastings
> > Murieston
> > :)

I've got a little list...

Message 34740 · Lee Fuell · 3 Apr 2003 01:04:05 · Top

Proper handing

Eye contact

Smiles

Straight lines in sets

Stepping up and stepping down

Shall I go on?

Lee

-----Original Message-----
From: Peter Hastings [mailto:prhastings@yahoo.com]
Sent: Wednesday, April 02, 2003 11:23 AM
To: strathspey@strathspey.org
Subject: Re: I've got a little list...

my stupid e-mailer doesn't do tab instructions very
well.

Anyway the list was ...

three beat pas de basque

turn out

strathspey poussette

Would anyone like to add others that we can submit to
the RSCDS for summary deletion ?

Peter Hastings
Murieston
:)

--- Peter Hastings <prhastings@yahoo.com> wrote:
>
> Given the recent success of those for whom the
> reaction to "a good few people don't seem to be
> doing
> this very well" is "abolish it", may I suggest the
> following candidates, equally well merited, for
> erasure ?
>
>
>
> __________________________________________________
> Do you Yahoo!?
> Yahoo! Tax Center - File online, calculators, forms,
> and more
> http://tax.yahoo.com

__________________________________________________
Do you Yahoo!?
Yahoo! Tax Center - File online, calculators, forms, and more
http://tax.yahoo.com

I've got a little list...

Message 34753 · Pia Walker · 3 Apr 2003 11:01:27 · Top

Hands in 4-hands across

Pia
----- Original Message -----
From: "Peter Hastings" <prhastings@yahoo.com>
To: <strathspey@strathspey.org>
Sent: Wednesday, April 02, 2003 5:23 PM
Subject: Re: I've got a little list...

>
> my stupid e-mailer doesn't do tab instructions very
> well.
>
> Anyway the list was ...
>
> three beat pas de basque
>
> turn out
>
> strathspey poussette
>
> Would anyone like to add others that we can submit to
> the RSCDS for summary deletion ?
>
>
> Peter Hastings
> Murieston
> :)
>
> --- Peter Hastings <prhastings@yahoo.com> wrote:
> >
> > Given the recent success of those for whom the
> > reaction to "a good few people don't seem to be
> > doing
> > this very well" is "abolish it", may I suggest the
> > following candidates, equally well merited, for
> > erasure ?
> >
> >
> >
> > __________________________________________________
> > Do you Yahoo!?
> > Yahoo! Tax Center - File online, calculators, forms,
> > and more
> > http://tax.yahoo.com
>
>
> __________________________________________________
> Do you Yahoo!?
> Yahoo! Tax Center - File online, calculators, forms, and more
> http://tax.yahoo.com

I've got a little list...

Message 34760 · Ian Brockbank · 3 Apr 2003 11:57:46 · Top

No-one's mentioned the Tournee yet!

So what have we got left?

- hands across (without hands...)
- circles
- casting
- lead down the middle and back
- skip-change (mostly, sort of, but definitely with no points)
- petronella turns?
- ...?

Ian
-- Please use ian@scottishdance.net for emails --
Ian Brockbank, Edinburgh, Scotland ian@scottishdance.net
Grand Chain: the Scottish Dance Resource - http://www.scottishdance.net
Feed the world: http://www.thehungersite.com/

I've got a little list...Tournee

Message 34817 · Jock McVlug · 4 Apr 2003 19:35:18 · Top

Just returned from a wonderful week-end of dancing in Victoria, B.C. where
one of the Saturday afternoon optional classes was "Formidable Formations".
The Tournee was one of the formidable formations (surprise?). There was some
discussion as to what excactly happens on bar four. One thought that the
promenade hold is still used for part of bar 4. All this sent me back to the
official manual of SD. The manual (and this is how I've always taught it)
clearly has the couples no longer in promenade hold at the start of bar 4
(at least the illustration is clear). The track indicated for the dancers
would also make it impossible to retain the prom. hold.
The Dance "From Scotia's Shores We're Noo Awa'" where the Tournee first
appears has the second couple dancing a track inconsistent with prom. hold,
but slightly different than the Manual version.
Another version has the instruction of "Just get the ladies back to back in
the middle at end of bar 4" (turning to face opposite sides to commence
those wonderful turns).
The last version I'll mention has the second couple turning clockwise with
the RH on bar 4. (This has them going the correct way for the turns). This
last method I observed a delegation from a town doing it, ... and they all
got the turns perfectly!
So, .... how do you all teach the Tournee?
And, was anyone ever taught the formation by Bob Campbell? (the devisor of
same)
Looking forward to this discussion,
Jack
----- Original Message -----
From: "Ian Brockbank" <ian@scottishdance.net>
To: "Strathspey" <strathspey@strathspey.org>
Sent: Thursday, April 03, 2003 1:58 AM
Subject: RE: I've got a little list...

> No-one's mentioned the Tournee yet!
>
> So what have we got left?
>
> - hands across (without hands...)
> - circles
> - casting
> - lead down the middle and back
> - skip-change (mostly, sort of, but definitely with no points)
> - petronella turns?
> - ...?
>
> Ian
> -- Please use ian@scottishdance.net for emails --
> Ian Brockbank, Edinburgh, Scotland ian@scottishdance.net
> Grand Chain: the Scottish Dance Resource - http://www.scottishdance.net
> Feed the world: http://www.thehungersite.com/
>
>

I've got a little list...Tournee

Message 34818 · Lara D. Friedman~Shedlov · 4 Apr 2003 20:01:02 · Top

FYI, I was told by my full certificate tutor that there is actually a
mistake in the RSCDS manual where it describes the tournee. I can't
recall the nature of the mistake right now (and I don't have the manual
in front of me).

Of the two issues you bring up (whether to retain promenade hold during
all or part of bar 4, and whether the 2C make a clockwise or
counter-clockwise movement on bar 4), I am very familiar with the 2nd, but
have never heard any discussion of the 1st.

* Regarding the clockwise vs. anti-clockwise movement on bar 4:
The original instructions for the tournee as written by Bob Campbell
(of which I have a photocopy) clearly say that the movement is intended to
be anti-clockwise, i.e. in the same direction the couples are already
travelling on bars 2-3. Since it makes bar 4 easier for 2C, it is not
uncommon to see them do a clock-wise movement instead. Although this
makes 2C's job a bit more challenging, I actually think it is more fun,
when you get used to it. It's my favorite part of the formation,
actually.

One way or another, 2C is going to have to change directions before the
turns on bars 5-8. Either they do it at the end of bar 4 (which is what
the original instructions say, in my opinion) or they do it at the
beginning of bar 4, which is what happens if they move clockwise rather
than anti-clockwise.

* Regarding retaining promenade hold in bar 4:
I think it can help 2C particularly to retain promenade hold momentarily,
because it kind of helps them dance around each other more quickly so they
can change direction in time for bar 5. However, one of the other
things that has to happen on bar 4 is that the men need to move out to
make room for the women to come in shoulder to shoulder. Often times
they don't move out far enough and the turns on bars 5-8 start out very
cramped. if promenade hold is retained too long, it makes it more
difficult for the men to move apart. Another reason to drop promenade
hold at the beginning of bar 4 is as follows: Since the 1C has less
motivation to retain hands (they have an easier movement than 2C) they
tend to drop hands, and if you are going for as much covering and
symmetry as possible (say in a demo) then you probably
want to instruct dancers to drop promenade hold at the end of bar 3.

Note that if 2C is moving clockwise instead of anti-clockwise on bar 4,
then there is no reason I can see for them to retain promenade hold. I
should think that would make it harder.

Lara Friedman-Shedlov
Minneapolis, MN USA

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Lara Friedman~Shedlov "Thwart not the librarian!"
ldfs@bigfoot.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

On Fri, 4 Apr 2003, Jock McVlug wrote:
<SNIP>
> The Tournee was one of the formidable formations (surprise?). There was some
> discussion as to what excactly happens on bar four. One thought that the
> promenade hold is still used for part of bar 4. All this sent me back to the
> official manual of SD. The manual (and this is how I've always taught it)
> clearly has the couples no longer in promenade hold at the start of bar 4
> (at least the illustration is clear). The track indicated for the dancers
> would also make it impossible to retain the prom. hold.
<SNIP>
> The last version I'll mention has the second couple turning clockwise with
> the RH on bar 4. (This has them going the correct way for the turns). This
> last method I observed a delegation from a town doing it, ... and they all
> got the turns perfectly!
> So, .... how do you all teach the Tournee?
> And, was anyone ever taught the formation by Bob Campbell? (the devisor of
> same)
> Looking forward to this discussion,
> Jack

I've got a little list...Tournee

Message 34819 · Lara D. Friedman~Shedlov · 4 Apr 2003 20:09:42 · Top

On Fri, 4 Apr 2003, Lara Friedman~Shedlov wrote:
>
> * Regarding the clockwise vs. anti-clockwise movement on bar 4:
> The original instructions for the tournee as written by Bob Campbell
> (of which I have a photocopy) clearly say that the movement is intended to
> be anti-clockwise, i.e. in the same direction the couples are already
> travelling on bars 2-3. Since it makes bar 4 easier for 2C, it is not
> uncommon to see them do a clock-wise movement instead. Although this
> makes 2C's job a bit more challenging, I actually think it is more fun,
> when you get used to it. It's my favorite part of the formation,
> actually.
>
I just realized my last sentence here is a bit ambiguous. I am referring
to the (correct) anti-clockwise movement as being both more challenging
and more fun.

--Lara
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Lara Friedman~Shedlov "Thwart not the librarian!"
ldfs@bigfoot.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I've got a little list...Tournee

Message 34829 · Helen P. · 5 Apr 2003 08:31:06 · Top

This does it for me:

1s and 2s dance in, Men in the Middle, and take promenade hold facing
anti-clockwise.
All dance halfway round.
Turn Ladies into the Middle, all facing opposite sides, releasing the
hand that becomes awkward.
Turn 1-1/2 times to end on side lines.

Note that hands are released in the *middle* of bar 4 (not at the beginning
or end of it). This feels natural and flows well. It also helps to reduce
confusion about hands and which way to face.

2s tend to face each other up and down, at which point it's much easier to
continue the motion and face the correct direction. Hands released at bar 3
make it far too easy for one or the other to forget the twiddle -- and the
partner can't help much with only one hand.

As far as covering, it seems that the ideal is for the 2s to make as smooth
and inconspicuous a twiddle as possible, to match the simple 1/2 turn of the
1s. Retaining two hands for a moment keeps the 2s from swinging out wide,
and then making a big twiddle.

Looks nice. Feels nice. Easy on the brain, too.

-- Helen (MD USA)

From: "Jock McVlug" <mcvlug@shaw.ca>
Sent: Friday, April 04, 2003 12:35 PM

> Just returned from a wonderful week-end of dancing in Victoria, B.C. where
> one of the Saturday afternoon optional classes was "Formidable
Formations".
> The Tournee was one of the formidable formations (surprise?). There was
some
> discussion as to what excactly happens on bar four. One thought that the
> promenade hold is still used for part of bar 4. All this sent me back to
the
> official manual of SD. The manual (and this is how I've always taught it)
> clearly has the couples no longer in promenade hold at the start of bar 4
> (at least the illustration is clear). The track indicated for the dancers
> would also make it impossible to retain the prom. hold.
> The Dance "From Scotia's Shores We're Noo Awa'" where the Tournee first
> appears has the second couple dancing a track inconsistent with prom.
hold,
> but slightly different than the Manual version.
> Another version has the instruction of "Just get the ladies back to back
in
> the middle at end of bar 4" (turning to face opposite sides to commence
> those wonderful turns).
> The last version I'll mention has the second couple turning clockwise with
> the RH on bar 4. (This has them going the correct way for the turns). This
> last method I observed a delegation from a town doing it, ... and they all
> got the turns perfectly!
> So, .... how do you all teach the Tournee?
> And, was anyone ever taught the formation by Bob Campbell? (the devisor of
> same)
> Looking forward to this discussion,
> Jack

I've got a little list...to abolish

Message 34743 · ron.mackey · 3 Apr 2003 01:04:08 · Top

> Anyway the list was ...
>
> three beat pas de basque
>
> turn out
>
> strathspey poussette
>
> Would anyone like to add others that we can submit to
> the RSCDS for summary deletion ?
> Peter Hastings

How about

R/J Poussette?

Turn C-P-C-P.?

Strathspey travelling step?

Smile?

I've enjoyed myself tonight. Better than doing Friday's programme!
Happy Dancing
Cheers :)
Ron

Ron Mackey. London Branch (and Croydon)
39, Grove Park Road,
Mottingham
London SE9 4NS

I've got a little list...

Message 34726 · Peter Hastings · 2 Apr 2003 19:20:58 · Top

Given the recent success of those for whom the
reaction to "a good few people don't seem to be doing
this very well" is "abolish it", may I suggest the
following candidates, equally well merited, for
erasure ?

__________________________________________________
Do you Yahoo!?
Yahoo! Tax Center - File online, calculators, forms, and more
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I've got a little list...

Message 34727 · Peter Hastings · 2 Apr 2003 19:20:59 · Top

Given the recent success of those for whom the
reaction to "a good few people don't seem to be doing
this very well" is "abolish it", may I suggest the
following candidates, equally well merited, for
erasure ?

__________________________________________________
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I've got a little list...

Message 34728 · Peter Hastings · 2 Apr 2003 19:21:02 · Top

Given the recent success of those for whom the
reaction to "a good few people don't seem to be doing
this very well" is "abolish it", may I suggest the
following candidates, equally well merited, for
erasure ?

__________________________________________________
Do you Yahoo!?
Yahoo! Tax Center - File online, calculators, forms, and more
http://tax.yahoo.com

Components of good dancing

Message 34759 · ian.brockbank · 3 Apr 2003 11:55:03 · Top

Hi Adam,

> Garth set me thinking... (since I was going to make a different
> indignant reaction like Richard's ;-))
>
> What does it take to dance well?
>
> How does that differ from the skills needed to be a good dancer?
>
> For the first, I can think of three:
> 1) A good knowledge (and the ability to exercise that knowledge) of the
> dance you are doing, or at least the figures and the segues from one
> figure to the next, including phrasing and moving with the music.
> 2) A good knowledge and practical ability with the steps, including
> timing and maintaining rhythm.
> 3) A good relationship with the other dancers, or at least the ability
> to relate to and acknowledge them on the fly.
>
> For the second, I'm not sure.
> Dancing *with* the other people is important, I think.
> Dancing to the music is important too, I think.
> Being able to recover when you make a mistake is important too.
> But is knowledge of dances or figures or steps really important?

I'm afraid 1) is the one I'm going to take issue with.

It's not the knowledge of any particular dance which makes one a good
dancer, it's a good knowledge of figures and the ability to apply these in
any given situation.

It always amazes me to come across dancers who know dances but can't
extrapolate because they haven't learned the building blocks, they've
just learned the dances monolithically.

Cheers,

Ian
-- Please use ian@scottishdance.net for emails --
Ian Brockbank, Edinburgh, Scotland ian@scottishdance.net
Grand Chain: the Scottish Dance Resource - http://www.scottishdance.net
Feed the world: http://www.thehungersite.com/

Components of good dancing

Message 34881 · Martin.Sheffield · 8 Apr 2003 11:25:47 · Top

At 11:55 03/04/03, you wrote:

>It always amazes me to come across dancers who know dances but ... haven't
>learned the building blocks,

Just to be awkward, let me add: it amazes me that teachers can teach
figures but not dances.
Who wants building blocks without the mortar that holds them together?

Martin
in Grenoble, France.
http://perso.wanadoo.fr/scots.in.france/scd.htm

"Back to dancing"

Message 34739 · ron.mackey · 3 Apr 2003 01:04:04 · Top

Frankly, it beats me what they get out of SCD, but they clearly
> DO enjoy it immensely, and have been "dancing" for a decade or so. They
> therefore know many of our standard dances far better than most, but would
> make the readers of this missive blanch.
>
> I for one am not going to chase them away with cries of "far too many". Nor
> the other social dancers whose interest in the "details" of SCD is minimal.
> As long as the means to improve are there, it is rightly up to each and
> every dancer to set his or her own targets of competence in different
> respects. And when my set is a couple or two short, I will be duly grateful
> for any and all "who know hundreds of dances".
>
> Richard Henderson

Hear, here Richard!
If you haven't one or more of the like in your class you are not
only lucky, you are spoiled rotten!! :)

Happy Dancing
Cheers :)
Ron

Ron Mackey. London Branch (and Croydon)
39, Grove Park Road,
Mottingham
London SE9 4NS

"Back to dancing"

Message 34770 · Helen P. · 3 Apr 2003 15:13:31 · Top

From: "Pia Walker" <piawalke@nascr.net>
Sent: Wednesday, April 02, 2003 2:00 AM
>
> I was always told to use all the music - and always, if there was a
choice,
> to move my body a heart-beat behind the music that before it - especially
> during slower dances. This way it looks to the spectator as if you are
led
> by the music to do something and not the other way around.

The same applies to the music itself. If the melody notes aren't played
just slightly after the beat, is often doesn't sound quite as good (note
that there are some occasions andsome musical styles where this is not
true).

So, one would normally hear the piano, then the fiddle, then see the dancers
move -- but all quite close together in time.

From: "Andrew Smith" <afsmith@bristolbs94lx.freeserve.co.uk>
Sent: Thursday, April 03, 2003 1:45 AM
>
> I have seen on more than one occasion, a very good dancer (technically)
sail
> through a set that was in tatters, obviously single-mindedly determined to
> complete their own part of the dance irrespective of the developing chaos.
> IMHO this immediately takes them out of the "very good dancer" category.

Actually, this isn't always a bad thing. There have been many times when my
partner and I have pulled the entire set back out of chaos because we kept
on going. This helped the rest to recognize the pattern and return to it.
However, we weren't ignoring the rest, but rather giving help and cues where
possible. I've seen other experienced dancers successfully do the very same
thing.

On occasion, a set has totally blown apart while my partner and I were
waiting out at the top. When our turn came, I launched into the dance with
a posture of blatant confidence: "Look at us! We know what to do! The set
is saved!" Sometimes it's a perfect scam <g>: I haven't the slightest idea
what to do after the first few bars, BUT we've managed to restore everyone
else's confidence (one can actually see them relax). So then they are then
able to give me a vital clue as to the next figure.

However, I thoroughly agree with you that a dancer who refuses to help the
set out of arrogance is a very poor dancer indeed. Foolish, too, since a
confused dancer will just mess up the dance for that person as well.

From: "Pia Walker" <piawalke@nascr.net>
Sent: Wednesday, April 02, 2003 4:16 AM
>
> a superb dancer can dance with all us other
> dancers without his/her personal standard dropping

That's not always true. For example, if another dancer pulls down heavily,
the better dancer will be sore pressed to do a credible pas de basque or a
quick turn. It's hard to jump carrying another person's whole weight, or to
do a good turn while being pulled strongly off-balance.

However, there are an enormous number of ways in which a better dancer can
compensate for others, and even help them avoid mistakes before the fact.

-- Helen (MD USA)
hoping for a few of those superb dancers in my sets this weekend

The Bowling Ball Reel (was Re: "Back to dancing")

Message 34771 · Helen P. · 3 Apr 2003 15:19:54 · Top

> Marilynn Knight wrote:
> the thought of SCD dancers falling over at the end of each dance, how
Pythonesque!!!

Well, I just had to go and write this dance.
Um, so what's the address for the Ministry of Silly Steps...? ;-)

The Bowling Ball Reel (64Rx11C set)
By Helen Powell, 4/3/03
10 persons in a triangular set plus one more dancing a fast track.

A mixer without couples, although #3 and #4 are preferably of opposite
genders.
There are 10 "pin positions" with persons facing up and numbered:
Row 4: 1-2-3-4
Row 3: 5-6-7
Row 2: 8-9
Row 1: 10-11 (sharing the top position)

1 2 3 4
5 6 7
8 9
10 11
top

THE SPARE
1-4 #10-#11 RH turn twice.
5-8 Pins set twice, while #11 dances wide loop clockwise to face #8.
9-16 #1-2-5 circle round and back, while #10-9-7-4 and #11-8-6-3 dance half
RSh reels of four diagonally and all eight chase halfway round.

THE GUTTERBALL
17-20 #4-#3 dance half Fig. 8 around #7-6, turn LH halfway.
21-24 Pins set twice with #5-9-8 moving slightly to the right on bar 8 and
turning right about, while #3 dances wide loop anti-clockwise to end in line
beside #8.
25-32 #7-6-4 dance RH across and LH back, while #1-2-5-9 and #10-11-8-3
dance half "ladies" chain up & down (with no polite turns) and all eight
chase halfway round. However, #11-3-2 stop slightly short (in original pin
formation), as #9 leaves the line to end beside #4.

THE MISS
33-36 #4-#9 RH turn twice.
37-40 Pins set twice, while #9 dances wide loop clockwise to face #7.
41-48 #10-8-11 circle round and back, while #9-4 dance diagonally down the
middle and up (go between #7-6 to start).

THE STRIKE
49-52 #7-6-9-4 dance RH across.
53-56 Pins set twice, while #4 dances wide loop clockwise to meet #3 (pass
between #11-7).
57-60 #4-3, and all others in trios, dance RH across. Finish with the trios
spreading out into a big circle of nine, #4-3 in the middle.
61-64 #4-3 dance LH across while all others circle nine hands round to the
left only.

The Bowling Ball Reel (was Re: "Back to dancing")

Message 34773 · Alan Paterson · 3 Apr 2003 15:29:26 · Top

"Helen P." wrote:
>
> > Marilynn Knight wrote:
> > the thought of SCD dancers falling over at the end of each dance, how
> Pythonesque!!!
>
> Well, I just had to go and write this dance.
> Um, so what's the address for the Ministry of Silly Steps...? ;-)
>
> The Bowling Ball Reel (64Rx11C set)
> By Helen Powell, 4/3/03
> 10 persons in a triangular set plus one more dancing a fast track.
>
> <snip instructions for an inspired dance>

Wonderful Helen. That one just HAS to go into the database.

(It's just a teeny bit hard to classify though)

Alan <vbg>

The Bowling Ball Reel (was Re: "Back to dancing")

Message 34774 · Helen P. · 3 Apr 2003 15:39:36 · Top

Whew, Alan, you're a quick study, though I guess you *have* had a just a
*tiny* bit of practice (love that DanceData!), so this must be right up
your, er, alley (sorry, couldn't help myself <g>).

Glad you like it. I hope I kept all the position numbers straight!

-- Helen
hoping that this weekend, we'll have a couple of really great bands
that'll... bowl the dancers over ;-)

From: "Alan Paterson" <alan.paterson@paranor.ch>
Sent: Thursday, April 03, 2003 8:29 AM

> "Helen P." wrote:
> >
> > > Marilynn Knight wrote:
> > > the thought of SCD dancers falling over at the end of each dance, how
> > Pythonesque!!!
> >
> > Well, I just had to go and write this dance.
> > Um, so what's the address for the Ministry of Silly Steps...? ;-)
> >
> > The Bowling Ball Reel (64Rx11C set)
> > By Helen Powell, 4/3/03
> > 10 persons in a triangular set plus one more dancing a fast track.
> >
> > <snip instructions for an inspired dance>
>
> Wonderful Helen. That one just HAS to go into the database.
>
> (It's just a teeny bit hard to classify though)
>
> Alan <vbg>

The Bowling Ball Reel (was Re: "Back to dancing")

Message 34777 · Pia Walker · 3 Apr 2003 16:32:49 · Top

you mean you don't have an area for experimental dances?

PIa
----- Original Message -----
From: "Alan Paterson" <alan.paterson@paranor.ch>
To: <strathspey@strathspey.org>
Sent: Thursday, April 03, 2003 5:29 AM
Subject: Re: The Bowling Ball Reel (was Re: "Back to dancing")

> "Helen P." wrote:
> >
> > > Marilynn Knight wrote:
> > > the thought of SCD dancers falling over at the end of each dance, how
> > Pythonesque!!!
> >
> > Well, I just had to go and write this dance.
> > Um, so what's the address for the Ministry of Silly Steps...? ;-)
> >
> > The Bowling Ball Reel (64Rx11C set)
> > By Helen Powell, 4/3/03
> > 10 persons in a triangular set plus one more dancing a fast track.
> >
> > <snip instructions for an inspired dance>
>
> Wonderful Helen. That one just HAS to go into the database.
>
> (It's just a teeny bit hard to classify though)
>
> Alan <vbg>

"Back to dancing"

Message 34707 · Pia Walker · 2 Apr 2003 09:42:59 · Top

Well we have two legs for keeping balance - and usually - even in dancing,
when one leg has been used, the other one gets used right after in order to
keep the body up-right.

I was always told to use all the music - and always, if there was a choice,
to move my body a heart-beat behind the music that before it - especially
during slower dances. This way it looks to the spectator as if you are led
by the music to do something and not the other way around.

Pia
And SCD'ers lying around on the dance-floor - not possible in a crowded room
and the gents must remember when falling over that they are wearing a kilt
:>)

----- Original Message -----
From: "Marilynn Knight" <marilynnk@scchamber.net>
To: <strathspey@strathspey.org>
Sent: Tuesday, April 01, 2003 6:58 PM
Subject: RE: "Back to dancing"

> Oh, Pia!!! You convulse me at the thought of SCD dancers falling over at
> the end of each dance, how Pythonesque!!!
>
>
> -----Original Message-----
> From: Pia Walker [mailto:piawalke@nascr.net]
> Sent: Tuesday, April 01, 2003 11:38 AM
> To: strathspey@strathspey.org
> Subject: Re: "Back to dancing"
>
> of course you should finish your step - or else you would fall over ! And
> during the dance, if you don't, you will be too early for the next step.
>
> :>) :>) :>)
>
>
> Pia
> ----- Original Message -----
> From: <Volleyballjerry@aol.com>
> To: <strathspey@strathspey.org>
> Sent: Tuesday, April 01, 2003 3:37 PM
> Subject: "Back to dancing"
>
>
> > Pia writes:
> >
> > "Can we get back to dancing please."
> >
> > But one mention of the Confederate flag by me, simply to point out that
> > "Union Flag" already has a different longstanding meaning to Americans,
> > brings immediate multiple (and admittedly very interesting) response.
Two
> > recent attempts, however, at getting some response on "finishing the
> step,"
> > which I still truly see as a major conflicting issue in terms of
> R.S.C.D.S.
> > orthodoxy vs. practice, and it's a total flop!
> >
> > Robb Quint
> > Thousand Oaks, CA, USA
> >
>

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