The dances I taught were
Deborah's Request - (32 R 3) - Price
Library of Birmingham - (40 S 4) - Bk 49
Palisades Mermaid - (32 R 3) - Price
Insomnia - (32 S 2) - Montes
Michael's Journeys - (32 R 3) - Anapol
Chelsea Square - (32 S 3) - I. Smith
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Deborah's Request:- It was written as a reel but I taught it in jig time as a warm up. Dance: Deborah's Request | SCDDB
Library of Birmingham:- Looked interesting, even somewhat complex. I have done the Rose progression before, liked it, and that was the attraction here. Don't bother. There are better dances with that figure. Unless there is an over riding social concern this dance will never be on any of my shortlists. Dance: The Library of Birmingham | SCDDB
Palisades Mermaid:- The dance is coming together. Not as I originally envisioned it because that version was difficult enough to require young legs and I no longer have them. Therefore a series of minor revisions to ease the physical demands. My third mermaid dance.
Keith Rose very kindly drew a diagram that is now, sadly, out of date. My newest project, having just revised the database crib, is to ask him to revise his diagram. Dance: Palisades Mermaid | SCDDB
Insomnia:- A fairly simple dance, easy to dance, I give it about an 87. What is nice- your with your partner for most of the dance and, if they need help, you are there to give it.
Dance: Insomnia | SCDDB
Michael's Journeys:- I was volunteered to brief this dance at a party. I had to learn it first.
Vivian was a relatively new teacher when she wrote and she was determined to use correct terminology. She succeeded - andit is nearly unreadable. The briefing is much simpler.
Dance: Michael's Journeys | SCDDB
Chelsea Square:- It has La Baratte! What could be wrong? The Set and Link for Three? The reels of three a la John Drewry's Bratach Bana?
The biggest issue, in general and not specifically to this dance, is that most dancers have no clue what is really happening in Set and link for three. They do it in a dance with music but can not walk it and that says to me they don't "know" it. Not Really. What I see as a fundamental piece is knowing that in your line of three the end dancers are changing places with each other - That is where you go! How is either through the middle or behind your line. The second hardest piece is on the one's shoulders. The temptation to follow the casting end dancer is almost irresistible.
The biggest need here - find good music to carry the dance. The musician is very good, the recording isn't. `Dance: Chelsea Square | SCDDB