31 January 2018 - Westchester

Well, How to describe this late winter situation? What comes to mind is a song by Jean Redpath about the traveling folk in winter when there are no jobs - The Terror Times. I feel like I am there, only it is Ball Prep that presses in. One is done and that leaves five. There was the Maplewood Workshop (Feb. 24). There remains New Haven Highland Ball & Brunch (this coming weekend); The NJ Rerr Terr; The Kilts and Ghillies Tea Dance and The Westchester Ball. This last one is still a work in progress as I haven't heard back from the band and I do count on their input. But looking at all these programs  you will note that there are  almost no overlap, there just might be as many as two dances that are on more than one program.

So to relieve the tedium I have chosen not to concentrate on the soonest coming ball but to spread my teaching over all the programs and to throw in a 'special' or two for my sanity.

So the dances I taught this night in Westchester:

The 'Cupar' Jig  -  (32 J 2)  - Let's All Dance 1 (Trew)
Davy Nick Nack - (32 H 3)  -  Campbell
The Bonnie Tree  -  (32 S 3)  -  Bk 46 (Butterfield)
Toast to the Mousies  -  (32 R 3)  -  Gratiot
The Shetland Shepherdess  -  (32 J 3)  -  Wallace
The Barmkin  -  (88 R 4 sq)  -  Goldring
Gleneagles  -  (32 S 3)  -  Will

**+**     **+**     *+*   +   *+*     **+**    **+**

The "Cupar" Jig:- With the exception of the opening double figure of eight a very basic dance and, surprisingly enough, not too tedious. Good music helps.

Davy Nick Nack:- I like this dance, a lot. But, all too often, the way it is danced makes my stomach acidic. There is a difference between change places giving Right Hands and turning half way with right hands. I have no trouble making and seeing that distinction and in my opinion too often dancers simply change places with their corners. The dance takes on a whole different dimension when it is danced with wide, open turns throughout.

The Bonnie Tree:- I like it. My dancers like it. The flow is impeccable. What not to like? The only piece requiring care are the Half Turn and Cast movements. Getting the necessary hesitation before the cast… I am reminded of the saying about the mule. First you have to hit it between the eyes with a big enopugh stick to get it's attention. Dances love to 'twirl' and just don't hear the 'hesitation ' bit.

The blame belongs to John Drewry. He invented and named the figure, and yes it is a nice catchy name, but what he forgot to take into account is that dancers will do what they are told and not do what they are supposed to do. And I find the temptation to use the short form and not the proper form is overwhelming most  of the time - and I get what I asked for. (bad words).

Toast to the Mousies:- Good Dance! Great tune! The tune is available on the eponymous CD by Muriel Johnstone and Keith Smith that accompanies the dance book "Spark o' Water" (from Nova Scotia). Norma's Garden is the track that uses Toast to the Mousies as the lead tune. Two thumbs up from the class and from me.

The Shetland Shepherdess:- from the pen of Ron Wallace who brought us Da Rain Dancin'.
It is a nice one. I thought the multiple crossing would be a challenge to some. I was wrong. Everyone has handled it beautifully. The challenge I have faced has been finding music to fit.

The Barmkin:- The challenge: find fun, simple, square dances in quicktime so I never have to subject myself to Round Reel of Eight ever again. This one works. Definitely simple, fun, and it will, maybe, pass the tedium test. We will see.

Gleneagles:- It has Chain Progression, the Knot, Hello-Goodbte setting, and a half Reel and continuation figure that is kinda fun. On the cusp of being really good but I think it works for some and not for others. Worth looking at.