user: Anwan
called at st john's
moose called at st john's
called at st john's
mirror of safeway
pass through to ocean wave to swing through
like al's safeway, but has a hey, No neighbor swing
half a hey to progress, non circle becket
Yuan Fen Seth Tepfer, CCW swing, lot of backwards stuffy
by: David Glick
called at st john's
introduces moves: circle, swing, long lines, chain, star, allemande, form long waves, Rory O'More
formation: Becket
| A1 | 8 | circle left 3 places
|
| 8 | neighbors swing
| |
| A2 | 8 | long lines forward & back
|
| 8 | ladles chain
| |
| B1 | 8 | star left 4 places
|
| 8 | shadows allemande right 1½
| |
| B2 | 0 | form long waves - gentlespoons face in, ladles face out
|
| 8 | balance & Rory O'More right
| |
| 8 | partners swing and slide left ⁋
|
Top of A1 shadow is next to you on side
by: Moose Flores
moose called at st john's
introduces moves: meltdown swing, promenade, poussette, mad robin
formation: improper
B1 the RL through is replaced by a promenade
Mad Ladle is rightwards (new neighbor dosido, but sideways)
| A1 | 8 | long lines forward & back
|
| 8 | ladles allemande left 1½
| |
| A2 | 16 | partners meltdown swing
|
| B1 | 8 | partners promenade
|
| 8 | star left 3 places and take both hands with your partner
| |
| B2 | 8 | half poussette - ladles pull partners back then right ⁋
|
| 8 | mad robin, ladles in front
|
There is more than enough time for the star, Poussette, and mad ladle. Invite dancers to have a relaxed pace.
Give dancers ample notice for “new neighbors, mad ladle”.
by: Robert Cromartie
called at st john's
introduces moves: pull by dancers
formation: improper
| A1 | 8 | star left - wrist grip - 4 places
|
| 8 | neighbors allemande left 1½
| |
| A2 | 4 | ladles pull by right
|
| 12 | partners swing
| |
| B1 | 6 | circle left 3 places
|
| 10 | neighbors swing
| |
| B2 | 8 | long lines forward & back
|
| 8 | star right - wrist grip - 4 places ⁋
|
A variation that allows for a longer partner swing. See notes about original dance below:
Author's Notes:
The transition from left hand star to allemande left is especially nice if a New England style (hand on wrist) star is used. This is the only dance I can think of for which I specifically request that type of star in those parts of the country where the default is hands-across.
Unfortunately, the origin of the name is lost in the mists of time. All I can say is that "Al" is not Al Olson, although had I known who he is when I wrote this, it might have been. Composed sometime around 1989.
This dance is from William Watson's mirror of American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 9/14/1997; last revised 3/5/1999; edited by Russell Owen
by: Bob Isaacs
mirror of safeway
by: Carol Ormand
pass through to ocean wave to swing through
introduces moves: form an ocean wave, custom, pass through, do si do
formation: improper
do not balance the wave
| A1 | 16 | neighbors balance & swing
|
| A2 | 8 | long lines forward & back
|
| 4 | pass through to an ocean wave - ladles by left in the center, neighbors by right on the sides
| |
| 4 | swing though
| |
| B1 | 16 | partners balance & swing
|
| B2 | 8 | circle left 3 places
|
| 2 | pass through ⁋
| |
| 6 | next neighbors do si do once
|
Carol Ormand Notes : A2: Pass the ocean: all pass through to a wave of four, ladles joining left hands with each other in the middle, neighbors holding right hands.
Swing through: allemande right halfway (with your neighbor, in this case), centers (gentlespoons, in this case) allemande left halfway.
Note: dancers must resist the urge to balance as they form the wave. There’s no time for that. Once they overcome that urge, however, the dance flows very smoothly.
by: Carol Ormand
like al's safeway, but has a hey, No neighbor swing
introduces moves: hey
formation: improper
| A1 | 8 | neighbors allemande right 1½
|
| 8 | star left 4 places with next neighbors
| |
| A2 | 8 | star right 3 places with original neighbors
|
| 8 | partners swing
| |
| B1 | 8 | long lines forward & back
|
| 8 | ladles chain
| |
| B2 | 16 | ladles start a full hey - rights in center, lefts on ends
|
by: Cary Ravitz
introduces moves: right left through, petronella, turn alone
formation: Becket ccw
Double progression.
In long lines, your partner is in one hand, your shadow is in the other hand.
| A1 | 8 | gentlespoons allemande left 1½
|
| 8 | neighbors swing
| |
| A2 | 8 | right left through
|
| 8 | left diagonal ladles chain to shadow (only if there is someone there) ⁋
| |
| B1 | 8 | balance & petronella
|
| 0 | turn alone to face a new neighbor ⁋
| |
| 8 | balance & petronella
| |
| B2 | 0 | turn alone to face your partner
|
| 16 | partners balance & swing
|
http://www.dance.ravitz.us/#pp3
Note the similarity to Maliza's Magical Mystery Motion. The chain is to the diagonal left here, so at the end of B1 you must face a new set of four to find your partner.
by: Erik Weberg
introduces moves: gyre, pass by
formation: improper
| A1 | 8 | neighbors gyre once
|
| 8 | mad robin, ladles in front
| |
| A2 | 8 | half poussette - gentlespoons pull partners back then left
|
| 8 | gentlespoons start a half hey - lefts in center, rights on ends
| |
| B1 | 2 | gentlespoons pass by left shoulders
|
| 14 | partners swing
| |
| B2 | 8 | ladles chain
|
| 8 | 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/
half a hey to progress, non circle becket
Yuan Fen Seth Tepfer, CCW swing, lot of backwards stuffy