THE EXPERIMENTS   by Michael  Fuerst

The Pulsar Reels #2-8     (#2 - #4 Improper; #6  and 8 Becket) by Michael Fuerst

#2

Al	Men allemande left 1 1/2, and without letting go, scoop up partners by the waist (8).
	Turn the line 1/2 (4), whirl as a couple (4), putting partners on side of set the men started the dance

A2	Women chain to neighbor. Double gypsy, women start with right shoulders.

B1	Neighbors balance and swing on side of set they started the dance.

B2	Either
	a. Star left. Star right and face a new couple
	b. Star left. Neighbors do-si-do neighbor, finishing back-to-back, all dancers facing a new neighbors along the set.

#3

Al	Balance and swing below.

A2	Men allemande left 1 1/2, and without letting go, scoop up partners by waist (8).
	Turn the line 1/2, and whirl as a couple, putting partners on side of set the men started the dance.

B1	1/2 hey, women start right shoulders. Swing partner on side of set women started the dance.

B2	Double gypsy, men start left shoulders.
	Circle left 3/4 and California Twirl.

#4

Al	Balance and swing below.

A2	Men allemande left 1 1/2, and without letting go, scoop up partners by waist (8).
	Turn the line 12 and whirl around as a couple, putting partners on the side of set men started the dance.

B1	Double gypsy, women start right shoulder. Partners swing.

B2	Star left. Circle left 3/4, pass through.
	(Alt. for B2 from Dan Pearl's The Rendezvous,' Circle left, slide left to face new neighbors across, circle left 3/4)

#6   (Becket, Clockwise)

Al	Start hey across, women start right shoulder. Swing partner.

A2	Right and left through. 1/2 women chain.

Bl	Double gypsy, women start right shoulder. Swing neighbor.

B2	Men allemande left 1 1/2, and without letting go, scoop up partners by waist (8).
	Turn the line 1/2 (4) and whirl as a couple, and while doing so shift clockwise around 
		set to face next couple across set (4).

#8 (Becket Clockwise)

Al	Men chain. Right and left thorough.
	(Alternative, from Dan Pearl's 'The Rendezvous": Circle left, slide left, circle left 3/4.)

A2	Balance and swing new neighbor.

B1	Men allemande left 1 1/2. and without letting go, scoop up partner by waist (8). 
	Turn the line 1/2, and whirl as a couple.

B2	Double gypsy, women start right shoulder. Swing partner.

•   Motivation for these dances was to make more use of (1) the double gypsy than the several dances containing double gypsies in Larry Jennings Zesty Contras book. and (2) star promenade and butterfly whirl. What makes these experiments is that the double gypsy must be demonstrated and explained quite carefully to have even experienced dancers complete on time.

•   I have called #8 several times. It flows very well if the dancers aB1lity and the speed of the music allow the dancers to complete the double gypsy.

•   Keep, or at least start the music tempo a B1t slow for these busy dances.

•   #3 and #8, having the double gypsy start in B2 makes "Sweet Georgia Brown" a good song for the dances. For other songs, consider starting any of the #3, #4 and #8 at with A2, B1 or B2.

The Rusty Wheel Reels #1-2               Becket Sicilian Circle           Advanced             Michael Fuerst	

lnitiaJly introduce the dancers to several persons: the couple on the left diagonal, who will soon become your new neighbors; the person of the opposite gender next to you, not your partner, who throughout the dance is your 1st shadow: and, if needed by the chosen dance or alternative, a person two positions beyond your 1st shadow, also of the opposite gender. designated as your 2nd shadow, Designate the outer couples as actives (who progress clockwise around the set) and the inner couples as inactives (who progress counterclockwise around the set).

#1

Al	Women chain across to neighbor, and face as couples on left diagonal. (Everyone now facing their 1st shadow.)
1/2 hey, on left diagonal, women start passing right shoulders. Upon passing left shoulders with current neighbor, actives step clockwise and inactives counterclockwise, to face new neighbor. Note that the 1/2 hey does not include your partner, but rather your neighbor (whom you chained to), your 1st shadow, and another person of same gender (your neighbor's first shadow).

A2	Balance and swing new neighbor, end facing couple on left diagonal, which should include 1st shadow

B1        1/2 hey on left diagonal (with new neighbor. 1st shadow, and new neighbor's 1st shadow), men start passing left shoulders. Upon passing right shoulders with new neighbor, women turn alone, as men pass left smoulders across the set with male new neighbor to approach partner.

B2	Swing partner. (This swing will tend to start at the end of B1!! Let it.) Right and left through across.

Alternatives:

A:   	A2 Circle left with new neighbor and 2nd shadow and swing new neighbor.

B:	B1 Start 1/2 hey on left diagonal (with new neighbor. 1st shadow and extra person of same gender), men start 	       	        passing left shoulder, until facing neighbor. Allemande right neighbor once (or twice if time), women pass left
                      shoulders across the set.
	B2 Balance and swing partner.

#2

A1	Women chain across to neighbor, and face as couples on left diagonal. (Everyone now facing their 1st shadow.)

 1/2 hey, on left diagonal, women start passing right shoulders, after passing left shoulders with current neighbor, actives step clockwise and inactives counterclockwise, to face new neighbor. Note that the 1/2 hey does not include your partner, but rather your neighbor (whom you chained to), your 1st shadow. and another person of same gender (your neighbor's first shadow).
	
A2	Balance and swing new neighbor and face 2nd shadow across

B1	With 2nd shadow and neighbor, circle left 3/4 and pass by 2nd shadow along set. 
	Do-si-do 1st shadow 1 1/2 to face partner.

B2	Swing partner. Right and left through.

Alternatives:

A:    B2    With partner and neighbors, 1/2 hey, women start passing left shoulders in center. 
                   (Myrtle Wilhite's "Nightmare" series of dances use this entry into a hey.)
                 Swing partner on original side.

B:    (No second shadow in this alternative.)
        B1    Face across at end of A2, slide left as necessary and circle left 3/4 with 1st shadow and pass through along the
                   circumference of the large circles, passing 1st shadow by right shoulder.
                Gypsy partner.

        B2  Swing partner.
               Right and left through.

•   Initially have the dancers pace themselves evenly around the circles. The dance is best saved for circumstances when the dancers can be comfortably spaced (neither too close not too far) with an inner circle of radius at least 25 feet. Request the band to play slowly the first few times through. until the dancers absorb the pattern. The dances analogous to freeing a rusty wheel since getting any of these started may require enthusiastic cajolation by the caller, and the dancers will initially move with much tentativeness

•  I have tried #2's alternative k? and the participants enjoyed it. Any of these should work well.

•  In principle, these can be done as contras by designating those moving down the set as the actives, but the treacherous end effects have so far dissuaded me from calling any of these as contras. Drawing yourself several pictures will be more helpful that the following verbal description of the end effects:

(i) When partners are the odd couple out, they align themselves to re-enter the dance during the 112 hey on the left diagonal.
(ii) When neighbors at the end of the set have no couple for the left diagonal half hey, they exchange places with neighbor; the woman faces across to meet her new neighbor, and the man faces counterclockwise to face his new neighbor.
(iii) The man emerging off the end of the set at the end of the half hey must scurry across the set to the other line to find his new neighbor.
(iv) When neighbors meet as the odd couple at the either end of the set. in #1 they end the swing aligned to re-enter dance on the left diagonal, in #11; during the circle they wait, swing or circle with ghosts, and end the swing aligned on the left diagonal; in #2 they align themselves facing into set to wait for their first shadow; and in #22, they slide left as necessary to circle with first shadow.
(v) During one time through the dance near each end of the set. your partner is also your neighbor. which results in an extra partner swing.

For the next two dances, Jenifer's Prune and Jenifer's Lemon, note that the direction of progression for those on the outer circle is counterclockwise, and the direction of progression for those on the inner circle is clockwise.

Jenifer's Prune	   Becket Sicilian Circle Double Progression      by Michael Fuerst      Feb. 1992

Al	Circle left 3/4. Swing neighbor.

A2	Circle left 3/4 and pass partner by right shoulders up and down set to face a shadow.
Allemande right shadow 1 3/4 to put men in middle of line of four. (Alt: Allemande right shadow 3/4 to line of 4 across set and balance.) Note: In either case, line of four contains you, your shadow, your neighbor, and your neighbor's shadow.

B1	Rotating hey as follows:
	a. Men pass left shoulders in center.
	b. Pass right shoulders with neighbor on side (Men are heading out: women heading in)
	c. As women pass left shoulders in center, men, instead of turning alone, go in their direction of progression 
		(should be to the right) to join the next hey.
	d. Men pass right shoulders with women (your partner!!) coming out of that hey
	e. As men pass left shoulders in center of new hey, women, instead of turning alone, go in their direction of 		progression (should be to the right) run over to next hey on right (following shadow).
	f. Men pass right shoulders with women who just entered the hey (happens to be your new neighbor)
	g. Men turn alone as women pass left shoulders in middle to face shadow
	h. Right shoulders gypsy shadow 3/4 to face partner.

B2	Balance and swing or (if partners prefer) swing partner, end facing across 
	which will put you facing new neighbors!!

Jenifer's Lemon      Becket Sicilian Circle       Double Progression       by Michael Fuerst      Feb, 1992

Al	Women chain. Promenade across and during the courtesy turn shift left to face new neighbors.

A2	Left shoulder do-si-do with shadow across set. (Alt. Long lines forward and back.) Men chain. 
	      The men always chain to the same person (a shadow).

B1 ,B2 As in 'Jenifer's Prune"

In the next dance. Jenifers Lime, those starting on the outer circle progress clockwise, and those on the inner circle progress counterclockwise.

Jenifer's Lime	     Becket Sicilian Circle       Double Progression	Feb, 1992

Al	As in "Jenifer's Prune"

A2	First 8 counts as in "Jenifers Prune.'
Allemande left shadow 1 3/4 to put women in middle of line of four. (Alt: Allemande left shadow 3/4 to line of 4 across set and balance.) Note: In either case, line of 4 contains you, your shadow, your neighbor, and your neighbor's shadow.

B1	Rotating hey as follows:
	a. Women pass right shoulders in center
	b. Pass left shoulders with neighbor on side (woman heading out: men heading in)
	c. As men pass right shoulders in center, women, instead of turning alone. go in their direction of 
                    progression (should be to left) to join next hey.
	d. Women pass left shoulders with men (your partner!!) coming out of that hey
	e. As women pass right shoulders in center of new hey, Men instead of turning alone, run in their direction of 
                    progression (should be to left) to join next hey (following shadow)
	f. Women pass left shoulders with men who just entered the hey (happens to be your new neighbor)
	g. Women turn alone as men pass right shoulders in middle to face shadow
	h. Left shoulder gypsy shadow 3/4 to face partner.

B2	Balance and swing or swing partner, end facing across which will put you facing new neighbors!!

Notes for Jenifer's Prune, Lemon and Lime: 

•  B1 contains more than 16 counts and hence will likely run into B2. Warn dancers that they will probably be late for the Balance and swing, and suggest a 4 count balance and 8 count swing, or just a swing.

•  "Jenifer's Prune' and "Jenifer's Lemon" (i) use a clockwise rotating hey, and (ii) use a counterclockwise (clockwise) progression for those starting in the outer (inner) circle, require the men to start the hey with left shoulders for a smooth transition into the partner balance and swing. In contrast, "Jenifer's Lime." (i) uses a counterclockwise rotating hey, and (ii) uses a clockwise (counterclockwise) progression for those starting in the outer (inner) circle, requires the women to start the hey with right shoulders to insure the smooth transition to the balance and swing.

•  In all three of these dances, partners split up to join their respective shadows, with whom they do a rotating hey (an action which results in a double progression), after which partners meet for the swing.

•  These dances can be done in longways sets. However, the following applies:

In a longways set the dances can only be done with an even number of couples!! The Technical note on rotating heys in appendix explains this.

"Jenifer's Prune and "Jenifer's Lemon" use a clockwise rotating hey which results in a counterclockwise progression, requiring the men to start the hey with left shoulders for a smooth transition into the partner balance and swing. In contrast, "Jenifer's Lime,' uses a counterclockwise rotating hey, resulting in a clockwise progression, requiring the women to start the hey with right shoulders to insure the smooth transition to the balance and swing.

End Effects.
(i) Upon passing through off end of set, face back into set with the man on the left (as in an improper dance). This
neutral couple rejoins the dance during the rotating hey. In -Jenifer's Prune and "Jenifer's Lemon. first the man
and then the woman moves counterclockwise into the adjacent hey. In "Jenifer's Lime the movement first the
woman and then the man moves clockwise to join the adjacent hey.   
(ii)  Upon heying off the end of the set with a non-partner, face back into set with the man on the right.

•  I haven't tried any of them, having written them to learn about the rotating hey.

Dandelions and Cocklebur #1-4      Sicilian Circle,      Backwards Progression     by Michael Fuerst     Feb, 1992

In these four dances those in the outside circle progress counterclockwise, while those in the inside circle progress clockwise.

#1

Al	Do-si-do neighbor 1 1/4 to put women in middle.
	Balance in line of four (left. then right), women allemande left to face neighbor.

A2	Rotating hey as follows:
a Pass right shoulders with neighbor.
b. As men pass left shoulders in center, women step in their direction of progression (should be to the right) to join the next hey.
c. Women just entering hey pass right shoulders with men coming out of hey   
d. As women pass left shoulders in center, men step in their direction of progression (should be to right)to join the next hey (following partner)
e. Men just entering hey pass right shoulders with women emerging from center
f. Women turn alone as men pass left shoulders in center

B1	Balance and swing partner.

B2	Star left. Women chain.

#2

Al	Do-si-do neighbor 1 114 to put women in middle. Woman allemande left 1 1/2 to face partner.

A2	Rotating hey as follows:
a. Pass right shoulders with partner.
b. Men pass left shoulders in center while women turn alone.
c. Pass right shoulders with neighbor.
d. As women pass left shoulders in center, men step in their direction of progression (should be to the right) to the next hey
e. Men just entering hey pass right shoulders with women coming out of center
f. As men pass left shoulders in center, women step in their direction of progression (should be to the right) to the next hey (following partner)
g. Women just entering hey pass right shoulders with men emerging from center
h. Men turn alone as women pass left shoulders in center

B1	Balance and swing partner (on M's original side): face a new couple across
	Note: A2 may run over to B1, so dancers may wish to just swing, or 4 count balance and 8 count swing.

B2	Star left. Women chain.

#3

Al	Star right, hands across.
Women drop out on own side and men continue once more around to face neighbor.

A2	Rotating hey as follows:
a. Pass left shoulders with N
b. As women pass right shoulders in center, men step in their direction of progression (should be to left) to join next hey
c. Men just entering hey pass left shoulders with women coming out of hey
d. As men pass right shoulders in center, women step in their direction of progression (should be to left) to join next hey (following partner)
e. women just entering hey pass left shoulders with Men emerging from center
f. Men turn alone as women pass right shoulders in center

B1	Balance and swing partner

B2	Long lines forward and back.
	Circle right 3/4, pass through by left shoulder.

#4

A1	Star right.
	Women drop out on own side and Men continue 1 1/2 to face partner

A2	Rotating hey as follows:
a. Pass left shoulders with partner
b. Women pass right shoulders in center while men turn alone
c. Pass left shoulders with neighbor
d. As men pass right shoulders in center, women step in their direction of progression (should be to left) to join next hey.
e. Women just entering hey pass S shoulders with men coming out of center
f. As women pass right shoulders in center, men step in their direction of progression (should be to left) to join next hey (following partner)
g. Men just entering hey pass left shoulders with women emerging from center
h. Women turn alone as men pass right shoulders in center

B1 	Balance and swing partner on woman's original side
	Note: A2 may run over into B15, so dancers may wish to just swing, or 4 count balance and 8 count swing.

B2 	 Long lines forward and back.
	Circle right 3/4, pass through by left shoulder.

Notes for Dandelions and Cocklebur
• #1 and #2 have a clockwise rotating hey and a partner swing on the men's side, while #3 and #4 have a counterclockwise rotating hey and a partner swing on the woman's side. In ail four dances the rotating hey causes a double backwards progression, while B2 undoes one of the progressions, leaving the dance with a single backwards progression. During the rotating hey, dancers pass their new neighbors (couple 3), whom they'll again face at the end of B2. During B2 couples dance with their future neighbors, before returning to the new neighbors they met during the hey. This makes the star and swing option in B2 of each of the dances intriguing.
• While in the Jenifer series of dances, the rotating hey sends one partner into the hey from which the other partner exits, here one partner follows the other into the same adjacent hey.
• Since #2 and #4 have a full rotating hey, while #1 and #3 have only 314 of a rotating hey, the latter two insure the dancers arrive on time for the balance and swing, and thus are the ones to try.
• Unlike the Jenifer dances, Dandelions and Cocklebur cannot be done in longways sets. The Technical note on rotating heys in the appendix explains why.
• The flow of these dances, written 2/9-10/92. parallels Tanya Rothenbergs "Delphinias and Daisies. (At least at one point while I was writing them, this struck me as true.)
• Also written to study rotating heys.
Daydreaming on the Job          Becket Sicilian Circle	by Michael Fuerst	Feb, 1992

In these dances, those on the outside circle progress clockwise and those on the inside circle progress counterclockwise.

#1

Al	Woman chain along left diagonal to new neighbor.
	Women allemande right 1 1/2 neighbor to face shadow (same person throughout dance).

A2	Rotating hey as follows:
	a. Pass left shoulder with shadow
	b. Women run to next hey on left, while men pass right shoulder in center.
	c. Men pass left shoulder with women entering hey
	d. Men run to next hey on left (following neighbor), while women pass right shoulder in center
	e. Women pass left shoulder with men entering hey
	f. Men pass right shoulder in center while women turn alone

B1	Swing neighbor. Circle left 3/4 and turn alone to face partner.

B2	Balance and swing partner.

#2

Al	Women chain along left diagonal to new neighbor. (Everyone is now across the set from his or her shadow.) 
	Women gypsy across to face new neighbor.

A2	Rotating hey as follows:
	a. Pass left shoulder with new neighbor.
	b. Men pass right shoulders in center, while women turn alone.
	c. Pass left shoulder with shadow (same person throughout dance)
	d. Men step in their direction of progression (should be to left) to next hey while women pass right shoulders in center
	e. Women pass left shoulder with men entering hey
	f. Women step opposite to their direction of progression (should be to left) to join next hey (following their neighbor), 
		while men pass right shoulder in center
	g. Men pass left shoulder with women entering hey
	h. Women pass right shoulder in center, while men turn alone

B1,B2 As above

Notes

•  Scribbled on a sheet of paper in January 1992 while daydreaming at work, and transcribed 2110192. between midnight and 1:30 am.

•  In this dance, the men and women progress differently. The women's chain on the diagonal progresses the women three places and along the set. For the women, the rotating takes them back two places, still leaving them on the side of the set opposite from which they started the dance. The circle left 3/4 and partner swing merely takes them back to their original side without any positional change along the set. For the men, the rotating hey moves them two places aiong the set, and the circle left 3/4 and partner swing moves them back one place.

•  Try alternative #1 first, as its rotating hey will not run into B1.

•  The idea for separating from your partner, circling 3/4. and turning alone to again meet partner. used in °A Chance Encounter, and 'Daydreaming on the Job,' came from a Eric Black's dance "Alison Wonderland."

•  Also written while studying rotating heys.

APPENDIX

• Technical notes on rotating heys.

A rotating hey is figure which cuases a double progression, identical to the result of a half hey on a diagonal (during which dancers pass one neighbor couple) and continuing with a second half hey across with a second neighbor couple. Also since each dancer must move between heys, a full rotating hey is likely to take 20 beats instead of 16.

The rotating hey can have two types of end effects. If it starts with an odd couple oat at the end, then this couple will enter the hey, while another couple will exit the hey and become the odd couple out. This 'odd couple out' end effect occurs in this pamphlet's Jenifer series of dances. In contrast, the end effects of a rotating hey starting without an odd couple out require persons emerging off the end of a hey to perform the impossible task of instantaneously running across the set to rejoin the hey on the other side!! (Draw some pictures with three foursomes dancing if you do not believe this.) This 'even couple end effect' cannot be allowed to occur.

Therefore a double progression dance with a rotating hey cannot be done in a longways set with an odd number of couples, because it will have the 'even couple end effect at the head of the set.

A double progression dance with a rotating hey with an even number of couples will work fine if the rotating hey starts after a couple has popped off each end of the set (as in the Jenifer dances). If instead the rotating hey starts before any couple has popped of the end of the set, the dance can still be done in longways set, but only if hands four is taken starting with the second couple, leaving an odd couple at each end at the start of the dance.

A single progression dance with a rotating hey will have alternating odd and even couple end effect at each end of the major set. Thus any single progression dance with a rotating hey must be done as a regular or Becket Sicilian circle (e.g. Dandelions and Cocklebur, Daydreaming on the Job). Obviously a single progression dance with a rotating hey must have some figures which undoes one of the two progressions caused by the rotating hey.

Sketches or coin simulations of these dances, with seven couples, might clarify this for anyone truly curious.