academie: Caroso?

Judithsca at aol.com Judithsca at aol.com
Wed Feb 21 15:29:06 PST 2001


In a message dated 2/21/01 6:05:11 PM Eastern Standard Time, 
scavard at hotmail.com writes:

<< That said, I noticed a pretty big flaw.  Saturday, the first dozen or so 
 dances were pretty much exactly the same.  People handed the baton off only 
 to other people that they knew, and as a result, the dances never changed.  
 Several of our more experienced dancers were getting bored, dancing the same 
 "SCA 101" dances over and over again, and were on the verge of going 
 elsewhere to dance things that *they* were interested in.  Fortunately, we 
 were able to derail that.  Nevertheless, I see how the selected dances could 
 very easily get stuck in a particular country/period/style.>>

Indeed, I have been discussing this very thing with several people.  My 
thoughts on the subject are this:
    If you want to continue to have the people's choices in the dance 
selection for the Ball, this is a great way to go about it:
    Solicit their wants ahead of time, the way that Bryan did.  Then, take 
all of those wants, decide which ones we have music for, etc., mix them all 
up, and make set lists out of them that distribute the dances according to 
type and level of difficulty.  This way, the musicians know exactly what they 
will be playing next, AND the dancers have gotten a say in what is played, 
and will be pleased to see their choices on the playlist, this encouraging 
further proactivity.
    Or, if you wish to do the dancer-to-dancer medallion/choice thing, then 
when you see that the choices of dances begin to grow monochrome, you, the 
dance master, interjects with a couple of choices that completely counteract 
that trend, restoring balance to the dance set, and keeping people of all 
levels interested.

    Personally, I prefer to first one, because then the dance sets are never 
allowed to get to the point where they need to be mixed up....

j

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