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strathspey@strathspey.org:27560

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  • Norah Link

    Norah Link Sept. 27, 2001, 5:23 p.m. (Message 27560)

    RE: Miss Gibson's Strathspey

    > ========================
    > TACnotes says:
    > 
    > 23-24  1st cpl dance a wide, three-quarters LH turn & flow into RH 
    > across on bar 25
    > 
    > and adds
    > 
    > 28  As 1st cpl pass R shldrs, 2nd and 3rd cpl turn inwards ready to 
    > give LH.  Do not dance out to sidelines.
    > 
    
    
    And this is the key to making it work if 1st cpl do indeed stay in the
    center at they pass R shoulders.  If the supporting couples dance out to the
    sidelines it does a few things:  
    
    1. it creates a wide sweep that 1st cpl do not get to enjoy, and so changes
    the pace between 1st cpl and the supporting cpls
    
    2. it requires supporting cpls to drop hands on the R hands across slightly
    earlier, leaving 1st cpl hanging in the middle
    
    3. (a result of the first point) it leaves 1st cpl hanging around in the
    middle waiting for the supporting cpls to come back in
    
    4. visually, it is not as effective (and therefore, perhaps, not as pleasing
    for the participants) if the dancers are not all doing the same thing.
    Consider:
    
    - what seems to be the method that is currently in vogue at least in NA:
    all 3 cpls sweep out to the side and sweep back in, providing an opportunity
    for a changing dynamic and ALSO a lovely covering opportunity at the end of
    the RA as well as at the end of the LA as the wheels momentarily become
    straight lines.
    
    - the "RSCDS approved" method:  RA/LA is danced at both ends, creating
    parallel wheels, and like magic the dancing cpl appears at alternate ends in
    the two halves of the figure, and the challenge becomes having them change
    ends sociably but without colliding and with a minimum of fuss. (Similar to,
    for those who know what I mean, really good shedding in highland dance - the
    foot moves from the back of the leg to the front and back again, but if the
    dancer is really good at, you hardly see it happen - it is just there).  In
    a way this is more difficult for the supporting cpls in particular, since
    they don't have far to travel.  And dancers must remember that the sweep out
    at the end should be covered.
    
    Both methods have their appeal, for different reasons.  The key is having
    all in the set agree to which way they are dancing it (either beforehand, or
    in very quick reaction to what they find the other couples want).
    
    happy dancing!  (together)
    
    Norah Link (Montreal, QC, Canada)
          

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