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52 Weeks of Dances

Join me for 52 weeks of “Keep Her Lit” sessions. We will work through past dances and courses, aiming to perfect the entire dance piece. The objective is to review the material independently and then come together for a session where we will dance the entire performance, from practice to full tempo. Throughout the year, we will have sessions that include multiple dances, similar to a rehearsal. The purpose of these sessions is to enhance endurance and focus on seamlessly integrating a complete performance.

This second part involves the process of rehearsing multiple dances, providing a glimpse into my preparation for a show. It offers an opportunity to perfect each piece, seamlessly transitioning between dance numbers, and building endurance for stage performances.

• Week 1 – Maggie Pickie
• Week 2 – Priest in His Boots
• Week 3 – Maggie Pickie & Priest in His Boots
• Week 4 – The Blackbird
• Week 5 – Maggie Pickie, Priest in His Boots & The Blackbird
• Week 6 – St. Patrick’s Day
• Week 7 – Maggie Pickie, Priest in His Boots, The Blackbird & St. Patrick’s Day
• Week 8 – Joe’s Beginner Hornpipes
• Week 9 – Maggie Pickie, Priest in His Boots, The Blackbird, St. Patrick’s Day & Joe’s Beginner Hornpipes
• Week 10 – Waltz Clogg
• Week 11 – Maggie Pickie, Priest in His Boots, The Blackbird, St. Patrick’s Day, Joe’s Beginner Hornpipes & Waltz Clog
• Week 12 – Walshes Hornpipes
• Week 13 – Maggie Pickie, Priest in His Boots, The Blackbird, St. Patrick’s Day, Joe’s Beginner Hornpipes & Waltz Clog, Walshes
• Week 14 – Maurry’s Hornpipes
• Week 15 –
• Week 16
• Week 17
• Week 18
• Week 19
• Week 20
• Week 21
• Week 22
• Week 23
• Week 24
• Week 25
• Week 26
• Week 27
• Week 28
• Week 29
• Week 30
• Week 31
• Week 32
• Week 33
• Week 34
• Week 35
• Week 36
• Week 37
• Week 38
• Week 39
• Week 40
• Week 41
• Week 42
• Week 43
• Week 44
• Week 45
• Week 46
• Week 47
• Week 48
• Week 49
• Week 50
• Week 51
• Week 52

Variations & Creation

When you are at the point you are putting together a routine or plan for particular tune. There are several approached to this. You may know how you want to approach. If don’t know, not to worry, I’ve got you. 

First think about your why. You can have more than one why. 

• To teach slides – create steps that you can teach based on the tunes. Develop tools to teach future slides and tunes based on the movements and techniques for creating steps. Start looking at all of the ways to add variation and step creating to create your own rapture that is uniquely your style and how to pass it along to others. 
• To perform – you may want to make your routine and steps more visual and excited to watch. Consider using the floor and moving in different directions. Look at more visual steps like crossing over, grapevines, lead arounds….
• Dance Sets – focus on advance and retire steps, slide and change steps and housing around. Practice traveling with all of the steps and movements. Which one works best for you. You can still use the same sheet bellow but come up with a few advance and retire steps and slide and change steps that you like. 
• Dance in sessions – You may want to focus on dancing the tune and creating steps that are musical and contained in a small space. I like adding variations of the same sounds to keep me excited about the dancing. 
• Have a party piece – you might want to have a mapped out routine that you can get up and dance to slides or these particular slides. 
• Be able to improvise with slides – focus on the improvisation ideas over the next few weeks and incorporating them into your dancing. 
• Dance the tune – come up with mapped out steps that fit the tune exactly. They can be visual or small and percussive or a bit of both. 

Here’s a spread sheet if that’s your jam – one think I like about the spread sheet is the ability to add the link to a video reference should you want that. It could be your own video or one from the course. 

In the introduction to the course I talked about having several ways to approach a performance piece or dancing a tune. Mapped out, half mapped, un mapped. As we go through this process decide which one you would like to focus on. If you are just starting out mapping the whole thing might be a good place to start and then as you get more comfortable with the routine start to dance is less mapped. It’s up to you. 

I have several tricks and tools to create variation in your steps. Here’s is my master list for step creation and variation:

• Direction
  • You can change a step and create interest by moving it in different directions.
  • Try dancing a step in place, sideways, circle around self, circle around stage, zig zag, forward and back and at angles. Which one do you like? 
• Phrasing or Space
  • Try adding a pause or leave beats out in your step. Adding breath to the step. Musicians will do this, especially flute players and singers. Take a note from them and see if this works with your steps. Let parts of the music come thought and dance the basic pulse rather than every note. 
• Length of Phrases or movements
  • Play with the length of a phrase: 8bars/4bars/2bars/1bars. 
• Emphasis
  • Emphasis one movement over the other. Swinging the beat and moving into different parts of the music.
• Dynamics
  • Soft to aggressive
• Creating multiple steps that have same rhythmic phrase
  • take a musical phrase and see how many different ways you can make that sound. This gives you lots of options when creating a step. Think about it in small chunks 2 or 4 bar phrases that you can swap in and out as you like. This will help you immensely when creating steps and improvising steps. 
• Pitch or Tone
  • Dancing steps on your toes or heels, high, low or deep sounds. 
• Rearrange Step / Rhythmic variation 
  • Moving the Stamp, Step or heel to different parts of the step and music. 
• Weight
  • Keep weight the same with hop or tap and transfer step to the other foot.
• Shifting the Beat
  • Start your step 1 beat over from where you normally would. Try ddd a beat to the step and/or removing a beat. This will move the movements over into different parts of the music. Very fun! 
• One sided only
  • Dance movements only on one side right only, then left only. Sometimes this can create a very interesting step. 
• Dancing the Tune
  • Crafting steps for a particular tune. 
• Echoing the tune
  • playing a rhythmical call and response with the tune and musician. 
• The Player
  • Getting to know the playing of a particular player and adapting to them. You can do this by listening to your local musicians live or recorded. Also your favorite musicians. Get to know how a musician plays and what they are likely to do with a tune. Learn their tunes or their style. 
• The Instrument
  • What each instrument is capable of and what is interesting to you about each one. 
  • Watch the player and dance off of them. You can do this on youtube if you don’t have a player nearby. 
  • The Breath of flute player, whistle player, singer
  • Dancing to the bow of a fiddler.
  • the bellows of an accordion player.
  • the regulators of a piper. 
• A Band
  • Dancing to multiple instruments and arrangements. 
• Time Signature
  • Changing the time signature of a step
• Tempo
  • Tempo of a particular tune, dance or style is played at. What sounds good to you? 
  • Reels 110-120, Slides 130-140?
• Context
  • The context in which you dance or want to dance: a session, the stage, personal enjoyment, party piece, house parties…
• Endurance
  • Work on endurance. Dancing at full temp for 30 minutes, dancing a whole show with all of your dance pieces in one set (make a playlist for your show). Jump roping, like boxers, to build up endurance, stamina and quick feet.

2022 Lark Camp Online