Hi, John,
This isn't quite the same thing, but I like ricochet heys, and I  
thought it would be nice to be doing the ricochet with your own  
partner.  So I wrote a couple of dances where partners meet in the  
hey. I suppose they could be done without the ricochet and the  
partners could spin off each other. In the first one, the 2s are  
doing the hey while the 1s ricochet. In the second the 1s hey while  
the 2s ricochet.  The first is a little more difficult, but both 1s  
and 2s get to swing, even though it is unequal. The second has the  
ones swing and a neighbor swing. I first danced these heys in a dance  
called Huntsville's Queen Bee Hey by Jane Ewing, where the women walk  
the hey pattern while the men ricochet. I figured that if the men  
were doing the hey it would be a King Bee Hey (so I wrote one like  
that) and so I named these Worker Bee Hey #1 and #2. Didn't know they  
were called ricochet heys until later. I'm just copying these from a  
little book I put together, sorry if there is duplication of any  
details. It is also possible that version 2, if you leave out the  
ricochet hey aspect, may have been devised by someone else, as it is  
fairly straightforward.

Worker Bee Hey #1				Martha Wild

Duple improper         September 24, 2006



A1         Down the set four in line (1s inside)

          Turn as couples and return*, face in^

A2         Worker bee hey@, 2s start passing right shoulder

B1         2s gypsy and swing, end swing facing up!

B2         Handy-hand allemande ~1  times (2s on the inside to start)

          1s swing and face down



* A little odd as the men are on the right of the women for the turn.

^ The line is not bent, all just turn to face center, 2s facing each  
other, 1s behind.

@ I thought it would be nice to do the push off of a queen bee hey  
with ones own partner. In this case, the #2 couple does a full hey,  
passing right shoulders to start, while the #1 couple meets at the  
center and pushes off backwards in little counterclockwise circles.

It helps to instruct the 1s to stand a little above the 2s while they  
swing so they see them when they end and are ready for the handy-hand  
allemande.





Worker Bee Hey #2   				Martha Wild

Duple Improper         September 24, 2006



A1         Do-si-do neighbor

          Swing neighbor

A2         Four in line down the set

          Turn as couples, come back up

B1         Face in, Worker Bee hey, 1s start^

B2         1s gypsy and swing



^ Worker bee hey is as described above.



I like version 1 because both 1s and 2s get a partner swing. This is  
an easier version, but unequal.



Martha Wild



On Aug 21, 2011, at 9:00 AM, callers-request@sharedweight.net wrote:

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> Today's Topics:
>
>    1. Heys Where Partners Meet (John Sweeney)
>    2. Re: Callers Digest, Vol 84, Issue 15 (Tom Hinds)
>    3. Re: Heys Where Partners Meet (Luke Donev)
>    4. Re: 50% rule (Richard Hart)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 21 Aug 2011 12:32:23 +0100
> From: "John Sweeney" <info@contrafusion.co.uk>
> To: <callers@sharedweight.net>
> Subject: [Callers] Heys Where Partners Meet
> Message-ID: <21E3296A26AB4820B1BCF3FF5D672895@JohnT400>
> Content-Type: text/plain;	charset="us-ascii"
>
> My wife and I like spinning off each other in Heys.  But we very  
> rarely
> meet in the middle of a Hey :-(
>
> Flirtation Reel is a great example of a dance where you meet your
> Partner in the middle of the Hey, but I can't find any other dances
> where that happens.
>
> Does anyone know of any other good dances where you meet your  
> Partner in
> the middle of a Hey?
>
>             Thanks.
>
>             Happy dancing,
>                         John
>
> John Sweeney, Dancer, England   john@modernjive.com 01233 625 362 &
> 07802 940 574
> http://www.contrafusion.co.uk <http://www.contrafusion.co.uk/>  for
> Dancing in Kent
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sun, 21 Aug 2011 09:28:00 -0400
> From: Tom Hinds <twhinds@earthlink.net>
> To: callers@sharedweight.net
> Subject: Re: [Callers] Callers Digest, Vol 84, Issue 15
> Message-ID: <94D71EA1-0AA5-4F85-971A-35A3C71E6B7B@earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> Jim
>
> Although I can't answer your first question about keeping track of
> all the dances, I can say something about what constitutes a new
> dance.  I remember Ted Sannella saying that a dance is new if it has
> 50% new or unique choreography.  By his definition if 50% or more of
> the dance is different than any other dance then it's a new dance.
> If a dance has less than 50% it's a variation.
>
> He didn't go into any more specifics and I wasn't wise enough to ask
> any questions.   But if you look at some of the old dances like
> Petronella and Hull's victory, they have identical B parts and unique
> A parts.  The same applies to Chorus Jig and Rory O' More.
>
> Squares can also follow this 50% rule.  For example there are a
> number of squares like Queen's Quadrille that have unique A parts
> while the B part is circle left half, swing corner, promenade.
>
> T
>
>
> ------------------------------
>
> Message: 3
> Date: Sun, 21 Aug 2011 09:59:54 -0400
> From: Luke Donev <luke.donev@gmail.com>
> To: "Caller's discussion list" <callers@sharedweight.net>
> Subject: Re: [Callers] Heys Where Partners Meet
> Message-ID:
> 	<CAFrKOZY9sQXDyCnd5RPtG=4fJVYUFGr+WZrSW=8-Mpj1wEahPg@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> John Sweeney <info@contrafusion.co.uk> wrote:
>
>> Flirtation Reel is a great example of a dance where you meet your  
>> Partner
>> in the middle of the Hey, but I can't find any other dances where  
>> that
>> happens.
>>
>
> Hi John,
>
> I think the structure of Flirtation Reel (*http://tinyurl.com/ 
> 3mlyrtm*)
> highlights why it's uncommon. The down the hall of *A1* seems the  
> cleanest
> way of setting up partners back to back at the start of a hey for  
> *A2*. The
> *B1* neighbor swing flows well after the hey, which leaves you *B2*  
> to get a
> partner swing and progression in.
>
> There are ways to gain the choreographic latitude you'd need.
> If you're willing to spread a hey across phrases (I've met folks  
> who detest
> that) you could shorted the neighbor swing and still end the swing  
> on phrase
> (as opposed to interrupting a swing half phrase, which is  
> unpopular). For
> example:
>
> *Restless Sunday Morning*
> Improper
> *A1*
> 2s half figure eight and a little more to face their partner in the  
> middle
> of a line of four
> 2s start a hey for four passing partner by left
> *A2*
> finish hey for four, 2s have extra pass in middle
> Neighbor swing on gent's home side*
> B1*
> Circle Left,
> Partner swing *
> B2*
> Ladies chain across,
> long lines forward and back
>
> The *B*'s have a lot more freedom for the partner swing and  
> progression,
> those are just some of what you could do.
>
> If you're against splitting the hey, you could compress the  
> position results
> of the line of four:
>
> *After the Honeymoon*
> Improper
> start with the 1s between the 2s, facing neighbor
> *A1*
> Pass Neighbor by Right to start a hey
> *A2*
> Neighbor balance and swing
> *B1*
> Give and (men) take
> Partner swing (gent's home side)
> *B2*
> Circle Left 3/4
> Balance the ring
> 2s make an arch, 1s duck through and move down to between new 2s,  
> facing
> out.
>
> I think as a style point, I might teach the *B2*'s arch duck as the  
> 1s drop
> partner's hand and are somewhat hand-casted through the arch by  
> their 2s.
> Without a few folks to play with it in my living room, I'm not sure  
> yet.
>
> The *B1*'s give and take could be a Circle Left 3/4 for a simpler  
> dance, but
> there's already a circle left in the dance, and I'm guessing this  
> wouldn't
> be called in a situation where a give and take was problematic.
>
> I can't say that these are *good* dances where you pass your  
> partner mid-set
> in a hey; but they're dances. Thanks for the question that got my  
> brain
> choreographing. Hopefully others chip in (especially if I accidentally
> re-wrote someone's dance).
>
> -- 
> Luke Donev
> Luke.Donev@gmail.com
>
>
> ------------------------------
>
> Message: 4
> Date: Sun, 21 Aug 2011 10:50:04 -0400
> From: Richard Hart <rich@harts.mv.com>
> To: Caller's discussion list <callers@sharedweight.net>
> Subject: Re: [Callers] 50% rule
> Message-ID: <4E511B1C.4050800@harts.mv.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> There's one dance variation that I've recently noticed.
>
> Recently, I've noticed that callers and dancers have slightly  
> changed some existing dances. In both cases that I remember (Trip  
> to Lambertville & Tica Tica Timing) a R&L over has been changed to  
> a promenade across.  Rights and lefts do seem to be more difficult,  
> especially at bigger dances, and with a larger proportion of  
> beginners.  The promenade does appear to make the dance smoother in  
> these cases.
>
> Is it really true that right & lefts are becoming less popular in  
> large MUCDs? Are other dances being modified in this way now?
>
> Rich Hart.
>
> Tom Hinds remarked on 8/21/2011 9:28 AM:
>> Jim
>>
>> Although I can't answer your first question about keeping track of  
>> all the dances, I can say something about what constitutes a new  
>> dance.  I remember Ted Sannella saying that a dance is new if it  
>> has 50% new or unique choreography.  By his definition if 50% or  
>> more of the dance is different than any other dance then it's a  
>> new dance.  If a dance has less than 50% it's a variation.
>>
>> He didn't go into any more specifics and I wasn't wise enough to  
>> ask any questions.   But if you look at some of the old dances  
>> like Petronella and Hull's victory, they have identical B parts  
>> and unique A parts.  The same applies to Chorus Jig and Rory O' More.
>>
>> Squares can also follow this 50% rule.  For example there are a  
>> number of squares like Queen's Quadrille that have unique A parts  
>> while the B part is circle left half, swing corner, promenade.
>>
>> T
>> _______________________________________________
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>
>
>
>
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>
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>
> End of Callers Digest, Vol 84, Issue 16
> ***************************************

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