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PLEASE NOTE: If you decide to use any of the Net Dancers please leave
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X X X X X
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then if you do the dance exactly as choreographed, that's fine.
Alternatively you can substitute the following for the first eight
steps for the front & back walls (or all 4 if you're fit enough):
1: Jump feet apart
2: Cross L over R
3: 1/2-turn to face opposite wall
4: Pause
5 - 8: Repeat above four counts
The Zydeco dance is based on 8 counts. The reason the dance fits Zydeco music so well (and also is a little difficult to learn) is that one must learn to take steps at two different rates. In other words, one must stay on one foot for two beats, switch feet for one beat, and then switch back for the next beat. The whole process is then repeated starting on the other foot. Schematically the whole 8 beat series could be given as: Foot(Beat): L(1) - L(2) - R(3) - L(4) - R(5) - R(6) - L(7) - R(8) (Repeat)
Most people are more used to stepping at the same rate with each foot, so it may be hard to hold on one foot for two beats. Some Zydeco dancers take a little step or just twist their foot on beat (2) and (6) to make sure they stay on the same foot for two beats (this is sometimes referred to as having to eat-a-beat, meaning to take up and extra beat before switching feet.)
One should first practice the footwork without music. People show great variability in picking up the basic footwork. It generally takes somewhere between a few evenings to a few weeks. In other words, don't get discouraged if it feels a little awkward at first because it takes everyone a while to pick it up.
Gary Hayman
ghayman@capaccess.org
Manners Maketh Man (and Woman!) or "What not to do on the dance floor".
A story from John P. Asendorf.
I was coming around the end of the floor along the line of dance only to have some pea brained woman step right into the line of dance and begin (not even line dancing) freestyling right there. Well, I reached around my partner and "moved" her off of the floor. It was a fast two-step and I wasn't ABOUT to even consider letting my partner back into her and hurt not only herself but the nitwit too. Well, anyways, after that song and another, this woman comes up to me and says, "Did you just shove me out there on the floor?". "Well, I moved you out of the line of dance if that's what you're asking . . ". She replies, "Well you obviously don't know anything about dance etiquette." Trying to keep my temper I say, "whatever . . . nice tennis shoes you have there.". She then says, "And you obviously don't know how to treat a lady either." This is where I should have kept my mouth shut, but no, I had to say, "Well, when I SEE a lady I treat her as such."
That's when I got slapped. Oh well, my dance partner dragged me out for another two-step and I let it go. It could have been a drink splashed on me I suppose . . .
Compiled By: Bill Atchley atchley@coltrane.gnets.ncsu.edu
Article Submitted To: rec.music.classical
Article Submitted By: Bolen@utxvms.cc.utexas.edu
The grandkids like to visit, They are always stopping by Sure They'll find their grandma, In the kitchen baking pie. But times have changed since grandma Learned to twinkle and vine. She can hook and hitch and scoot, Her jazz box is real fine. Oh, grandma's in the kitchen still, In cold and snowy weather. But she's not baking cookies , kids! She's out there slappin' leather!Submitted By: George De Virgilio
Lady's starting position:
Weight centered over right foot with left leg slightly bent, tip
of left toes lightly touching the floor for balance. Both arms
held stiffly with a slight bend at the elbows, palms gently curved
and facing in with left arm held slightly to the front of the body
and right arm held slightly to the rear of the body. Head should
be facing forward, tipped cheerfully toward the left shoulder
with a large, expressive, plastic smile. Shoes should be equipped
with narrow 5-inch spike heels.
Man's starting position:
Weight centered over both feet with the feet placed at shoulder width
apart. Both arms held with the elbows at the side of the body and bent
approximately to 90-degrees, palms slightly curved and facing in. Head
held proudly erect, turned to look approximately 10- to 11-o'clock with
a handsome, rugged, yet rigid, smile.
DESCRIPTION: (PHRASED VERSION)
Deftly assume the starting position during the brief dialog intro to the
song. When the music begins, hold this position for 380 beats. At the
conclusion of the song, exit the floor and compliment your fellow
dancers.
CALL:
1 - 4 Hold starting position
REPEAT DANCE
*****
DESCRIPTION: (UN-PHRASED VERSION)
Deftly assume the starting position during the brief dialog intro to
the song. At the conclusion of the song, exit the floor and compliment
your fellow dancers.
1 - 8 Hold starting position
9 - 16 Hold starting position
17 - 24 Hold starting position
25 - 32 Hold starting position
REPEAT DANCE
1. You always start counting with 5,6,7,8. [ or 4,5,6. ]
2. You Grape Vine down your Super Market Isles.
3. You have a Neon Light Tan Line.
4. You have a separate closet for your dance cloths.
5. Mumble things in your sleep like " One more time " .
6. Know you can't eat anything off a Grape Vine.
7. Know the difference between Sheplers, Cheyenne, and
Drysdales, or even know what they are.
8. Wear a belt buckle that costs more than your first car.
9. Try to purchase a Hamburger with some "Kick-Ball-Change"
10. You own one or more pair of Bowling Shoes and don't have a
ball, and can't find the alley.
11. Watch Friday night T.V. on Sunday.
12. The bar you dance at goes broke because you only order water.
13. Foreplay is 5, 6, 7, 8.
14. Your hands go into your pockets every time you hear country
music.
15. Your boots match your outfit.
16. Your work boots have Fringe.
17. You break your leg building a dance hall.
18. You look up while dancing and everyone else is doing the wrong
dance.
19. You watch your feet while dancing.
20. Perspiration drips off the end of your nose.
21. You ride 10 miles on a mountain bike and still
go dancing that night.
22. You don't have a willing partner.
23. Your wife stomps her foot and you don't pay attention.
24. A Trashy Women is a dance, not someone you find in a bar.
25. Ty England is a performer, not a geographical location.
26. Garth Brooks is a singer, not a retirement community.
27. Pigeon toes don't refer to birds.
28. You don't fish with a swivel.
29. A jazz box is not a New Orleans honky tonk.
30. Patty Loveless is a person, not a condition.
31. You talk with your feet and not your hands.
Police officer: "Why were you driving so slowly?"
Darlene (any name you want) the driver explains: We are on our way to the "Atlantic faire" competition in VA. "I kept seeing all these signs with the number 20 on them and figured that was the speed limit."
Police officer: "No, Honey that is the highway number."
Darlene: "Oh, I'm so sorry, Officer, I didn't know that."
Then the police officer looks into the back seat and sees that the dance team in the back have panic-stricken faces and white knuckles from holding on to each other too tightly.
Police officer: "What's wrong with the dancers in the back"
Darlene:"We just got off Highway 101 a few miles ago."
Contra dancing is done to live music, generally 64-beat reels and jigs from Scotland, Ireland, New England, the South and Quebec. Some membership-type groups affiliated with the Modern Western Square Dance movement contra dance to recorded music.
Gary D. Shapiro
E-Mail: shapiro@rain.org
A shorter definition of "Contra Dance", by the same author, can be found in the Line Dance FAQ Section 5B glossary of dance terms along with the definition of "Contra" when applied to Line dances.
A greatly expanded discussion of the origins of Contra Dance can be found at Gary's website at: http://www.rain.org/~gshapiro/contradance.html
Here's a list of some of the most popular Contra dances
Awesome Double Progression Dance - Donna McAllister
Batja's Breakdown - Tom Hinds
Beneficial Tradition - Dan Pearl
The Brown Bag Reel - Donna McAllister
Caught in the Act - Donna McAllister
Contra Clockwise - Donna McAllister
The Country of Marriage - Susan Kevra
Dr Brown's Prescription - David Kirchner
DUI #4 AKA Doin' Time - Gary Shapiro
Eye of the Storm - Dan Pearl
Fast Living - David Kirchner
Fisher's Jig - Tom Hinds
Follow the Lady - Donna McAllister
Highway Hypnosis - Ralph and Donna McAllister
Katie's Trip to Starbase Twelve - Merilee Karr
The Left Hand - Merilee Karr
Marshmallow Surprise - Dan Pearl
Missing Duck - Erik Hoffman
A Proper Trifle - David Kirchner
Ralph and Donna's Dance - David Kirchner
The Rendezvous - Dan Pearl
Terry Meets the Gypsy - Marilee Standifer
Trip to Phan Reel - Susan Kevra
You Can't Get There From Here - Carol Ormand
The dance was developed in the early 1980's by Buddy Schwimmer, a prominent California dance pro and has achieved reasonable but not overwhelming popularity in the ballroom community over the last decade or so, in large part because of Buddy's ongoing, and very successful, effort to popularize it. As yet, however, it still isn't danced in USABDA ballroom competitions, even as pro-am.
The standard position for nightclub two-step is a closed position, but it's neither the strongly externalized topline of smooth/standard nor the more inward and vertical arm hold of Latin/rhythm; instead, it's somewhere in between, and more relaxed (though still firm, of course). Eye contact is encouraged and, typical of American style ballroom, there are many figures in open positions.
The is an abridged edition of an article authored by Henry Neeman and posted to the Country Western Dance List on Friday 20th January 1995 13:44:23 CST:
Henry Neeman
University of Illinois at Urbana-Champaign
E-Mail: hneeman@ncsa.uiuc.edu
As an addendum to the above Shawn Riggins (rigginss@ecs.csus.edu) adds the following information:
NC2S was actualy developed in the mid 1960's. 1965 to be exact. See Philip Seyer's interview with Buddy Schwimmer at http://www.ilovemusic.com/niteclub.htm where Buddy talks about how, when, and why the dance was created.
My dance floor is a suspended floor about 30 x 50. You can see the floor actually give or move up and down when people are dancing on it. What helps is that we are on the second floor. Ours was built as a dance hall in 1905 for the Odd Fellows and has been used as one almost every year since.
The worst are cement floors or cement floors with just a tile covering. Some concrete floors may have wood such as 3/4 inch plywood or particle board secured to it. This is better than plain cement but still not as good as a suspended wood floor.
Article Submitted To: The Line Dance List Sat, 11 Jan 1997
Article Submitted By: George De Virgilio
E-Mail:cwdancer@erie.ne
SYNCOPATED STEPS-8-BEAT
1 Step right over left,(weight on right)
&2 Step side Left, touch right heel forward (wt on L)
&3 Step down on right, step left over right (wt on L)
&4 Step side right, touch left heel forward (wt on R)
&5 Step down on left, step right over left (wt on R)
&6 Step side left,touch right heel forward (wt on L)
&7 Step down on right, step left over right (wt on L)
&8 Step side right, touch left heel forward (wt on R)
Submitted By: Tom Brook
E-Mail: tbrook@georgian.net
Blouses: Simplicity 8607, 8190, 8259 and McCalls 7416, 7184, 7993, 7123.
Skirts: Simplicity 8193, 9585 and McCalls 6332, 7069
If your local fabric store doesn't have them in stock, ask and they may be able to order them for you. Don't forget to look in the Men's section. The Men's section usually carries a unisex western shirt pattern. For the ladies looking for "bloomer" or "dance pant" patterns, I have used a cheerleader or ice skater pattern.
To customize my clothing I use various types of braid, studs, and lace (beaded and plain). Look through catalogues and pricey western wear stores for ideas on customizing your creations. I get many compliments from my one-of-a-kind clothing. I can sew an outfit for half of what I would pay for a comparable outfit off the rack. Your clothing is only limited by your time and imagination....not your pocketbook!
Submitted By: Deanna E-Mail: KntryKickr@aol.com
Robert Fielder's Website
http://www.interlog.com/~rfielder/clipart/index.html
DanceArt Website
http://www.danceart.com/
Jon Leech's Dance Clipart Collection
http://www.cs.unc.edu/~leech/dance/clipart/
RT Computer publishes, among other clip art and the PROZip compression program, a Wild West Collection of clip art-which includes some C&W images and borders: http://www.rtcomputer.com/
Last Thursday for instance the schedule was:
Submitted By: David Grant
E-Mail: Dgrant1043@Aol.Com
Neon Rodeo Western Dance Clubs,
Rochester, Kent, England.
I have used the following formula for the past 6+ years in my club and it seems to work. 1st and 2nd Mondays teach beginner.adv. dances. 3rd Monday is the "Challenge" dance of the month. 4th Monday Band traditional (the 6 dances the bands know the name of! Tush Push, Boot Scootin, Elec. Slide etc.). If there is a 5th Monday we do "Cobwebs" did out a golden oldie and teach it again. We only have a 1 hour class so the most they get is two dances (beginner nights).
Submitted By: Knox Rhine
E-Mail: linedncr@premier1.net
In trying to estimate the size of a dance floor I would require I came up with 9 sq ft per line dancer. I did this by trial and error and estimates. This does not preclude some Line dances that take up more space, but for the majority of the dances it seems to work.
Submitted By: Rich Focht
Apart from Contemporary Dance Repertory Companies I know of only one dedicated group of C&W wheelchair dancers in the UK (consisting of nine wheelchair users and four able bodied dancers), The Wheelabilly Rockers, who are instructed by Bill McKechnie (AKA Wild Bill) who is based in Marton, Lancashire.
Bill and his Wheelabilly Rockers have made it into Linedancer Magazine (UK) thrice to-date! Issue 17 (October 1997) Page 43, Issue 16 (September 1997) Page 24 and Issue 19 (December 1997) Pages 66-67. The Latter includes a modified Step Sheet for Wheelchair Dancers, the Grundy Gallop, and Wild Bill's wheelchair linedance glossary which includes alternative moves for wheelchair users
You can contact Bill direct on +44 1253 765307.
Website: http://www.cradd.demon.co.uk/