playford

This page is read only. You can view the source, but not change it. Ask your administrator if you think this is wrong.
====== Bluebonnets ======


November 2005   or, **Trip to Texas**

English country dance by Joseph Pimentel longways, duple minor, proper
tune by Debbie Jackson, 112 bpm, 9/8, D minor

<code>
  A1 1-2     1s lead forward to meet each other and fall back
     3-4     1s 2-hd turn
     
  A2 1-2     2s lead forward to meet each other and fall back
     3-4     2s 2-hd turn
     
  B          All face Corner
     1       Balance back (step back, step together, pause)
     
     2       Balance right (step right, step together, pause)
      
     3-4     Corners simultaneously Hole-in-the-Wall cross  (clumps)
     
     5-6     Circle L ~1/2 (to original places)
     
     7-8     1s cast down while 2s lead up</code>

Teaching Notes
B 3-4. The corners simultaneous Hole-in-the-Wall cross is also described as "clumps" in Andrew Shaw's reconstruction of "The Merry Conclusion," originally published by Nathaniel Kynaston in 1716. Everyone comes into the center and moves around each other as they would if they were changing places with just their own corner person, then backs out into their corner's place. For initial teaching, I have found it useful to suggest that dancers put their right shoulders into the center and move around each other in what feels like a tight right-shoulder star. Once they have the geography, I have them adjust so that they are facing their corner with their shoulders parallel to each other.

B 5-6. The circle is actually closer to 5/8 of the way around rather than halfway. When dancers balance to the right in bar 2, they end in something of a diamond. They then change places with their corner, and so have more distance to circle to get to their home places. I usually do not say this explicitly, but do make a point to mention that the circle takes them to their original places.

**Background**
I really like "The Merry Conclusion," but find it too challenging for many dancers to enjoy in most programs. "Bluebonnets" uses some of the figures of that dance in a simple setting paired with Debbie Jackson's incredible bluesy slip-jig. I find it useful to add variety and brain rest in many different programs, and sometimes use it to prepare dancers for "The Merry Conclusion" when I am determined to call it.

I wrote the dance shortly after my partner Fred and I moved to Houston in September 2005, and originally called it "**Trip to Texas**" following the longstanding convention of naming English (and contra) dances after trips. When we first experienced the incredible Texas bluebonnets the following March, though, the dance wanted a new name. The blue connection between the bluebonnets and Debbie's bluesy tune made it all the more obvious.
playford

User Tools

Site Tools

Page Tools
