Dances to save copy

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.

YouTube, 2, 3

Rick Mohr notes: A fresh all-moving dance offering a weaving reunion with partner and a nice reverse progression.

The figures are straightforward. The end effects are numerous, but intuitive when dancers orient themselves to prepare for the next figure. If out after the A2 right and left through, stand across from partner to prepare for the zig-zag. If out during the B1 zig-zag, California Twirl to face the set. If out during the B2 half promenade, cross the set to prepare for the right and left through. No problem!

Firefly pedicabs brought fanciful pedal-powered magic to Philadelphia's Ben Franklin Parkway at twilight. Somehow this dance reminds me of that merry experience.

Note that the mad robin in B2 is with old neighbors, then the next mad robin in A1 is with new neighbors. Over the two mad robins, everyone's individual footpaths will describe a figure 8.
Found elsewhere:
http://dancevideos.childgrove.org/contra/contra-modern/486-sharon-of-the-green-contra
(different B1) http://squash.1gainesville.com/contradance.dances-composers.html#n

G Campbell Kaynor notes: For a simple proper dance I do one called Jefferson and Liberty to the tune of the same name (Thos Jefferson's campaign song, a.k.a the Gobby O, an American Irish Jig)

It doesn't matter if people get on the wrong side of the set so I often start the night with this if there are lots of newcomers

http://www.dancingthread.ca/condance.htm#line

David notes: At the top of A2, the circle on the caller’s left should circle left halfway, but the other one can circle right halfway (ccw). It creates an eddying effect, and the flow is slightly improved for that active couple. This small change was suggested by Nils Fredland, and I like it a lot. Since the circles go halfway around, the dance will work either way.

#2s must slide up while #1s go down the hall
#2s when out at the top must slide together and become new #1s facing down; #1s when out at bottom must separate and face in along
side
Making sure the #1s circle with the correct #2s can sometimes be problematic
http://davidsmukler.syracusecountrydancers.org

• gyre for all four: people can keep eyes on their diagonal opposite as they gyre around. One and one quarter puts the gentlespoons above the ladles in the set, and the gaze shifts to partner. Teaching may be easier if it is taught initially with a hands across star, then have people leave the hands out.

Martha Wild notes: I was concerned that it would seem like too much clockwise motion, but people did not find that an issue, perhaps because the second half has little.

https://sites.google.com/site/marthawildscallsofthewild/

If you finish dancing before the music is done, let each couple in turn just sashay down until the music is ready to end.

the revolving door into the allemande/orbit is (as far as I know) a new creation and requires a demo. Ladles drop N off across the set and keep going 1/2... as this happen Gentlespoons keep turning - all slide nose to nose past partner so Gentlespoons can put Left hands into center for the Allemande and Ladles slide out to continue the clockwise orbit another 1/2

Demo the Rip and Snort. 1's need to mind their shoulders when they turn under their joined hand.

To start the walkthru, have gents walk forward into a long wave.

In this mixer dancers form scattered groups with any number of couples. That makes for fun chaos, less transition panic (compared with 2-couple scatter mixers), and more flavors to enjoy as circle sizes vary.

The A2 allemande ends with ladles in the center facing counterclockwise and gentlespoons on the outside facing clockwise. If there are two ladles they allemande left for 8 beats; if there are more than two they star left for 8 beats. Either way, the gentlespoons orbit clockwise around the ladles. Then all balance and swing a new partner and promenade to a new group.

I tell the dancers it's a zero-stress dance. "If a couple wants to join your circle, let them in!" And no problem if you happen to keep the same partner now and then.

This chain-free version from Rebecca Lay. Rebecca notes Note from Rebecca: If I'm asked to teach a pre-dance "Beginners Workshop" at a contra dance, I often teach participants Broken Sixpence at the end of the workshop, and then do it as the first dance of the evening.

https://www.cdss.org/resources/how-to/contra-dance-resources#callers

A version with chains in the B2 is https://contradb.com/dances/358/

Notice that the two twirls to swap are done with different hands. This is intentional. The California twirl and reach back to a cloverleaf is inspired, primarily, by several Rick Mohr dances which do the same thing.

The name is a result of a remarkable confluence of events. A friend of mine from Wisconsin, Ceara Herndon, was visiting her sister in Vermont. She sent me a picture of a firepit captioned with the title, which seemed like a good name for a dance. As it turns out, the state flower of Vermont is the Red Clover, which I only learned AFTER writing the dance. On top of all this, there's an old, hitherto unpublished dance of mine called "Fire Flower," which also contains a California twirl and reach back to a cloverleaf.

Written for the Wise family.

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/

Chris Page notes:
[1] While looking at your neighbor. Gentlespoons backing up across the set (carefully), ladles follow them to the other side.
[2] A little different from the normal ladle's allemande, as here dancers don't adjust. Gentlespoons should stay put, and stay on the slight diagonal, rather than adjusting to be across from each other. Ladles allemande right 1 & 1/2, then ease out to the sidelines, having traded places, and now facing their partner on the side of the set.
[3] While looking at your partner. Ladles backing up across the set (carefully), gentlespoons follow them to the other side.

An auction dance written for Heather Visscher. She really liked the A2 move from "A Rare Bird" by Bob Isaacs.

Original at http://chrispagecontra.awardspace.us/dances/#heart-of-joy

Called by Andy Shore on tour with Polaris in 2018.

Written in 1985 for the 20th anniversary of her parents' wedding, these being their wedding flowers.

The California twirls can be facilitated by the gentlespoons taking the ladle's other hand at the end of the twirl to face back in, inside hands joined

Please walk this dance thru before taking to the dance floor, any feed back would be appreciate you can E-mail do14flah@aol.com
thanks Don Flaherty

First called at the barn (outside of Urbana, IL) of Kathy and Tom Anderson--during one of their occasionally hosted Sunday potlucks and dances
Susan Burt, who declared the dance quite "neat," asked me its name.
Not having named it yet, I invited her to suggest one, and without hesitation she replied "George?"

(Composed August 1999)

All pass through 1/4 R and walk single file along the line to a new neighbor.

For Dale Wilson, who has a knack for strategic figure redeployment into contra settings.

Original and video at: http://dancevideos.childgrove.org/contra/contra-modern/502-trip-to-wilson-by-will-mentor-duple-improper

video at: http://dancevideos.childgrove.org/contra/contra-modern/108-a-nice-combination

Intended to make a left-hand chain feel good, to be accessible to new dancers, and to have flow that facilitates positional calling. Tested at Dance, Music and Spice Week (Camp Cavell 2019), where dancer Ruth Scodel said that it reminded her why she fell in love with contra dancing.

Don shared this in a facebook thread asking for atypical but not too difficult dances: You say no contra corners, so is a Mad Robin scarce in your community? This is one I wrote for MR newbies, but an experienced dancer told me it was their "new favorite all-time dance" :-). Encourage folks to not rush the B parts - take the full music and relax into it.
20180808

Original at http://veino.com/blog?p=2175

Alan asked What kind of tunes do you recommend for that? My instant analysis suggests massively flowy, unpunctuated but clearly phrased things like "Air Tune" or "Tom Kruskal's". Is that your vision?
Don replied Yes, flowy with strong 8 beat hinting, particularly in the Bs. If I recall correctly it's been "sexy jigs" and "flowy marches" so far.

from: http://rickmohr.net/contra/dances.asp#DrBluhmsDelight
video available at: Lisa Greenleaf & Didgeridoo at Fiddling Frog 2010, Pasadena

Rick Mohr notes: Diagonal action makes this dance fun and different while staying accessible.

The neighbors allemande right in B1 is slightly more than half way round — gentlespoons go just past the opposite gentlespoon to join left hands with the next gentlespoons, forming a wave on the right diagonal. Then left allemande 3/4 easily forms the left diagonal wave with partners for the balance in B2. Of course the gentlespoons would never forget to complete the balance by looking left at each other before diving into the partner swing ... but it couldn't hurt to remind them!

Usually after the swing in B2 dancers are almost across from their new neighbors and don't need to shift left very far to start the circle left in A1.

For my buddy Carey Bluhm of Keene NH, who delights in playing fiddle tunes.

Often called in memory of Louie Cromartie, as it was a favorite dance of hers. Emily Rush edited video allowing "Louie" to call this at her memorial dance.

Collected from Michael Barraclaugh at https://whatzon.info/about-me/videos-of-me .

Alan shared this on a facebook thread, noting: conceived 9/9/2012 on drive home from Los Angeles.

Bradley Smith Notes:
The first time through the dance, the gentlespoons do-si-do in A1 is with the couple that you start the dance with. Every time after that, the gentlespoons have to look to the left to find the next gentlespoon to do-si-do. It's a very simple progression that just requires reminding gentlepoons that they must look to the left every time through the dance after the first to find the next gentlespoon to Do-si-do.

Notes: Written to medley with Steve Zakon-Anderson and Louis Cromartie’s dance Salmonella Evening. Preserves the progression from that dance while doing some different stuff beforehand. Perfectly enjoyable on its own, but the name only makes sense in the context of the medley. Inspired by a conversation I had with Josiah Roberts.

Those who don't like a long 16-count swing may gyre twice.

Notes from Bob Isaacs: Written on August 7, 2012 as a smushing together of the B2/A1 of "A Sure Thing" and A2/B1 of "Trust," to put both transitions in the same dance. Chris learned to dance and call at Glenside before moving to San Diego a decade ago. This dance has it all; a new transition, good flow into both swings, and the beautiful/circle R/pousette progression.

"The motion in B1 does seem magical – while the ladles Petronella over and back across the set, the gentlespoons do consecutive Petronellas along the side, in effect progressing behind his partner’s back."
- Rich Goss