DanceDB, part of tedcrane.com Wednesday • June 19, 2013 • 03:43:39.96
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After learning that my composition, Morrison's Jig, shared its initial figures with Steve Zakon's "33 1/3", I wondered whether that distinctive figure and rhythm of the first part could be adapted to another use. The obvious thing to try, was to head across the set instead of back home.

Dancers meet their partners a long way from home before beginning the journey back toward starting positions. They never reach home, ending the dance in a wave with their new corners. The "forward" progression happens while actually moving in the "backward" direction.

As each dancer travels in a relatively large circle around the set (gents go CW, ladies go CCW), they interact with a lot of different dancers in different places: corner, 2nd corner, 3rd corner, partner, 3rd corner, and then back to the 2nd corner. At the very last instant of the dance, the 2nd corner becomes the new corner and then the dance repeats.

There are several issues worth mentioning to dancers. In the B1 figure, passing right shoulder along the line in the wrong direction, has a potential to disorient dancers. Remind dancers that the PBYR, PBYL in A1 loops around the end of the set.

There's also a simple, but unusual, end condition: when the dance begins with a couple out at the end, after the A1 they will be "in" but another couple will briefly be "out" at the end of the set. Say, it ain't so, Joe, and things will work out OK.

It's probably worth trying to rotate this dance into a Becket, beginning with the B1 part and ending with the partner swing in A2. In that case, it would become a half-progression counter-clockwise Becket. Along with back-and-forth movement on both sides of the starting position, there will be conditions that bear explaining during a walkthough.

Tentative difficulty level: intuition says it's definitely not easy, but it worked right the first time and every time since!

Dance composition © Ted Crane Unless noted otherwise, permission is granted to use for teaching purposes at dance events. Publication or reproduction of this dance is not permitted without authorization from the author.

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