QCC 2019-11-16

user: Moose Flores

Dance the Snapper

by: Moose Flores

introduces moves: long lines, allemande orbit, form an ocean wave, custom, star, hey, swing

formation: Becket

A1 8
long lines forward & back
gentlespoons allemande left once around while the ladles orbit clockwise ½ around
A2 0
form an ocean wave - gentlespoons by left hands and neighbors by right hands
balance the wave & "Spank the Alligator" + ⁋
star right - hands across - 4 places - gentlespoons drop out, ladles pull by to start ...
B1 16
ladles start a full hey - rights in center, lefts on ends
B2 16
partners balance & swing

For the Gator in Humbolt Park, Chance the Snapper
+ Spank the Alligator (from B2 of Joseph Pimentel's Hotpoint Special) All take a small step forward & face right. Partners walk single file, turning right to go up/down the set to new neighbors across.


by: Erik Weberg

introduces moves: gyre, mad robin, poussette, pass by, chain

formation: improper

A1 8
neighbors gyre once
mad robin, ladles in front
A2 8
half poussette - gentlespoons pull partners back then left
gentlespoons start a half hey - lefts in center, rights on ends
B1 2
gentlespoons pass by left shoulders
partners swing
B2 8
ladles chain
star left 4 places to next neighbor ⁋

This is one of the most flowing dances I’ve written (2007…?) and dancers have expressed appreciation for the connectedness and satisfying feel. After the half pousette with partner, the ladles should let go and take a step back and to the left in order to leave room in the middle for the gentlespoons to begin the hey. The timing of this dance has been described as “squishy”, which is ok. Encourage dancers to stretch out the Mad Robin, the Pousette and the Hey and use all the music provided.

*I’ve recently been teaching this dance the way I initially intended it; with the fifth change of the hey and then the swing in the B1 part of the dance. I’ve found that as I get better at teaching it, it has become easier to convince dancers to suspend their hurry in getting to the next figure during the A parts. As dancers relax into the flow they seem to enjoy it more, and saving that last crossing by the gentlespoons until the B1 seems to enhance the joy.

Ryan Smith notes in a facebook thread: One of my favorite dances of all time is Joyride. It starts with a face-to-face, transitions into a mad robin, then to a half pousette, then to a hey (or at least 7/8ths of one) and then into a swing. Then the ladles chain across and you star to the next neighbor. With the right hall and the right partner, you can lock eyes halfway through A1 and not look away until the end of B1. Because the vast majority of the moves are not moves where you are connected to the other dancers physically, it requires extra effort for the caller. Because the first move needs to take up 8 counts of music, but that most dancers will try to do it in 6 means that there's some more extra work for the caller.

Original at http://www.erikweberg.com/joyride/