user: Dan Kappus
or upgrade to Batja's
by: Yoyo Zhou
introduces moves: swing, allemande, do si do, circle, balance the ring, California twirl
formation: improper
| A1 | 16 | neighbors balance & swing
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| A2 | 8 | gentlespoons allemande left 1½
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| 8 | partners do si do once
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| B1 | 16 | partners balance & swing
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| B2 | 8 | circle left 3 places
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| 4 | balance the ring
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| 4 | partners California twirl to progress
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by: Al Green
introduces moves: custom, balance, promenade
formation: Circle Mixer
In this dance, neighbor becomes partner. Gentlespoons or left-hand side dancers are progressing clockwise, which may be off brand. Ladles are progressing counterclockwise. At the beginning of the dance, next partner (neighbor) is the dancer closest to each dancer who is not that dancer's partner.
| A1 | 8 | ladles into the center and come back clap at the center
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| 8 | gentlespoons into the center and turn to face out (clap at the center)
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| A2 | 4 | ____ balance the wave
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| 4 | partners allemande left ½ (go halfway)
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| 4 | ____ balance the wave
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| 4 | partners allemande left ½ (go halfway)(face neighbor)
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| B1 | 16 | neighbors balance & swing
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| B2 | 16 | neighbors promenade (henceforth, this neighbor is new partner)
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by: Seth Tepfer
introduces moves: slide along set, form an ocean wave
formation: Becket cw
| A1 | 2 | slide left along set ⁋
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| 6 | circle left 3 places
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| 4 | form an ocean wave & balance - ladles by left hands and neighbors by right hands
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| 4 | ladles allemande left once
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| A2 | 16 | neighbors balance & swing
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| B1 | 8 | circle left 3 places
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| 4 | form an ocean wave & balance - ladles by left hands and partners by right hands
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| 4 | ladles allemande left once
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| B2 | 16 | partners balance & swing
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by: Becky Hill
introduces moves: long lines, chain, star
formation: improper
| A1 | 16 | neighbors balance & swing
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| A2 | 8 | circle left 3 places
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| 8 | partners swing
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| B1 | 8 | long lines forward & back
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| 8 | ladles chain to neighbor
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| B2 | 8 | star left 4 places ⁋
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| 8 | next neighbors do si do once
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by: Becky Hill
introduces moves: right left through
formation: Becket
| A1 | 8 | star left - hands across - 4 places
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| 8 | ladles allemande left 1½
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| A2 | 16 | neighbors balance & swing
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| B1 | 8 | circle left 3 places
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| 8 | partners swing
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| B2 | 8 | partners promenade across the set
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| 8 | left diagonal right left through
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by: Erik Weberg
introduces moves: custom, pass through
formation: Becket, indecent
Start in wavy line across; gentlespoons take right in center, give left to partners. ID shadow in next wave.
| A1 | 4 | balance the wave forward and back
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| 4 | drop hands, walk forward along the set
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| 0 | form an ocean wave - gentlespoons by right hands and shadows by left hands
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| 4 | balance the new wave forward and back
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| 4 | shadows allemande left ¾
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| A2 | 16 | partners balance & swing
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| B1 | 6 | circle left 3 places
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| 2 | pass through to next neighbors ⁋
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| 8 | neighbors swing
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| B2 | 8 | ladles allemande right 1½
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| 8 | partners allemande left 1½ - hold on
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| 0 | form an ocean wave - gentlespoons by right hands and prev neighbors by left hands
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by: Gene Hubert
formation: improper
| A1 | 16 | neighbors balance & swing
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| A2 | 4 | circle left 2 places
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| 2 | slide left along set with your neighbor to face a new couple
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| 6 | circle left 3 places
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| 4 | neighbors California twirl to face your partner
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| B1 | 16 | partners balance & swing
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| B2 | 8 | ladles chain
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| 8 | star left 4 places ⁋
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from "Dizzy Dances, vol. II"
by: Herbie Gaudreau
or upgrade to Batja's
formation: Becket
Double progression.
In long lines, your partner is on one side of you, and your shadow is on the other side of you.
| A1 | 8 | shadows allemande left once
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| 8 | partners swing
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| A2 | 8 | ladles chain
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| 8 | ladles chain
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| B1 | 8 | left diagonal right left through ⁋
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| 8 | right left through
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| B2 | 8 | star left 4 places
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| 8 | star right 4 places
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by: Cary Ravitz
introduces moves: petronella
formation: Becket ccw
| A1 | 8 | circle left 3 places
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| 8 | neighbors swing
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| A2 | 8 | long lines forward & back
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| 8 | ladles chain
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| B1 | 8 | balance & petronella and turn to face the next ⁋
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| 8 | balance & petronella
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| B2 | 16 | partners balance & swing
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by: Tom Hinds
formation: improper
| A1 | 16 | neighbors balance & swing
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| A2 | 8 | circle left 3 places
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| 2 | pass through
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| 6 | shadows do si do once
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| B1 | 16 | partners balance & swing
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| B2 | 8 | ladles chain
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| 8 | star left 4 places ⁋
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by: Erik Weberg
introduces moves: gyre, mad robin, poussette, hey, pass by
formation: improper
| A1 | 8 | neighbors gyre once
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| 8 | mad robin, ladles in front
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| A2 | 8 | half poussette - gentlespoons pull partners back then left
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| 8 | gentlespoons start a half hey - lefts in center, rights on ends
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| B1 | 2 | gentlespoons pass by left shoulders
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| 14 | partners swing
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| B2 | 8 | ladles chain
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| 8 | star left 4 places to next neighbor ⁋
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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/