In my opinion by Simon Scott (Vancouver Branch)
Simon with his partner, Leslie.
One chord or two. Which will it be? I enjoy dancing and teaching many of the dances in which the third and fourth couples begin on the opposite side of the set. I say “opposite” side rather than “wrong” side. The added variety, the altered progression and the mirror imaging are a delight. Many of them were written by our very accomplished and renowned John Drewry, and I join you in thanking him for them and his many other dances. I do however continue to be most concerned by the two beginning chords to
allow those couples to change sides before starting the dance. I don't think that either the changing of sides or, therefore, the second chord is at all needed. To use as our example the most elegant and classic strathspey, The Glasgow Highlanders, is not at all valid. The Glasgow Highlanders contains its own unique form of progression. It is a special feature of that particular dance which carries on during each repetition. I have never considered the two chords at the beginning of The Glasgow Highlanders to be for the purpose of changing positions. Rather, I believe that the first chord is to acknowledge one’s own partner, and then, having made the change, the second chord is to acknowledge the person you now face, and with whom you are about to begin dancing. However, that feature is not the case in these newer dances, to which I refer. There is no need at all to acknowledge the same person twice. Here, it is surely only a matter of a different starting position. Many of our dances have varied starting positions. A square set for instance or sets with three or five couples or any number of other possible shapes that are not the standard set. Those dances don't have two chords in order for us to adjust to a different shape, size or configuration, away from the conventional four couple longwise set. With the greatest respect for these new dances, and indeed for their devisers, I feel
that the beginning would be far more elegant and enjoyable with the dancers ready, in their appropriate starting place to begin the dance, and to have one chord only. This would allow dancers the proper time to enjoy a gracious bow and curtsey as their acknowledgement to their chosen partner. I find it so unfortunate, untidy and inelegant to acknowledge one’s partner quickly and then rush across the set, in time for the first step of the dance. It has no worthwhile reason. At a dance with live music the MC must announce how many chords will be played if one of these dances is on the programme. Then, if there is an encore, do the dancers stay where they have finished the dance and are suitably ready to repeat or do they return to the other side to restart? If it is live music I'm sure the MC will say, “Stay where you are” and begin the encore with one chord. If so, then why not at the start of the first time through? If recorded music is being used dancers either cross back again for the encore or they ignore one of the chords. I'm not sure which one is preferable. I only know that all this rather confusing and untidy mess can, and should, be avoided. Let's start the dance where the dance starts. I love the full rich sound of the chord. I love the thrill that the bow and courtesy can have. They deserve our time and attention. Don't let them be hurried. They signify, in such a grand and gracious way, the beginning of the dance and the invitation to take part.
which encourages people to mix and become part of the event. Everyone is encouraged to stay for the evening dance and the youngsters join in with enthusiasm. And, of course, we rely on a large number of helpers from the Branch: people to welcome teams as they arrive, sound engineers, musicians, door keepers, ticket sellers, adjudicators’ scribes, first aiders, MC, refreshment team, shop-keepers and more, who all work really well together. This year we held a Ladies’ Step class, taught by Atsuko Clement, the day after the Festival. It was much appreciated, and having the opportunity to dance on a second day made the trip to Newcastle even more worthwhile. Next year the Festival will take place on Saturday 11 February 2012. Sheila Trafford
John Cass (centre) who came up with the idea of the Festival back in the 1980s, seen here at the dance following the 2011 Festival.
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