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45/F/Michigan
Writing is a reminder that I'm still alive. A hippie with a gypsies touch. Hollow, trying to embrace the earths saliva. Ask me anything I'm …
22/F/Canada
I've been told my heart is too much for most, so I leave it here with you.
Poems
Rey de los hidalgos, señor de los tristes,
que de fuerza alientas y de ensueños vistes,
coronado de áureo yelmo de ilusión;
que nadie ha podido vencer todavía,
por la adarga al brazo, toda fantasía,
y la lanza en ristre, toda corazón.Noble peregrino de los peregrinos,
que santificaste todos los caminos
con el paso augusto de tu heroicidad,
contra las certezas, contra las conciencias
y contra las leyes y contra las ciencias,
contra la mentira, contra la verdad...¡Caballero errante de los caballeros,
varón de varones, príncipe de fieros,
par entre los pares, maestro, salud!
¡Salud, porque juzgo que hoy muy poca tienes,
entre los aplausos o entre los desdenes,
y entre las coronas y los parabienes
y las tonterías de la multitud!¡Tú, para quien pocas fueron las victorias
antiguas y para quien clásicas glorias
serían apenas de ley y razón,
soportas elogios, memorias, discursos,
resistes certámenes, tarjetas, concursos,
y, teniendo a Orfeo, tienes a orfeón!Escucha, divino Rolando del sueño,
a un enamorado de tu Clavileño,
y cuyo Pegaso relincha hacia ti;
escucha los versos de estas letanías,
hechas con las cosas de todos los días
y con otras que en lo misterioso vi.¡Ruega por nosotros, hambrientos de vida,
con el alma a tientas, con la fe perdida,
llenos de congojas y faltos de sol,
por advenedizas almas de manga ancha,
que ridiculizan el ser de la Mancha,
el ser generoso y el ser español!¡Ruega por nosotros, que necesitamos
las mágicas rosas, los sublimes ramos
de laurel Pro nobis ora, gran señor.
¡Tiembla la floresta de laurel del mundo,
y antes que tu hermano vago, Segismundo,
el pálido Hamlet te ofrece una flor!Ruega generoso, piadoso, orgulloso;
ruega casto, puro, celeste, animoso;
por nos intercede, suplica por nos,
pues casi ya estamos sin savia, sin brote,
sin alma, sin vida, sin luz, sin Quijote,
sin piel y sin alas, sin Sancho y sin Dios.De tantas tristezas, de dolores tantos
de los superhombres de Nietzsche, de cantos
áfonos, recetas que firma un doctor,
de las epidemias, de horribles blasfemias
de las Academias,
¡líbranos, Señor!De rudos malsines,
falsos paladines,
y espíritus finos y blandos y ruines,
del hampa que sacia
su canallocracia
con burlar la gloria, la vida, el honor,
del puñal con gracia,
¡líbranos, Señor!Noble peregrino de los peregrinos,
que santificaste todos los caminos,
con el paso augusto de tu heroicidad,
contra las certezas, contra las conciencias
y contra las leyes y contra las ciencias,
contra la mentira, contra la verdad...¡Ora por nosotros, señor de los tristes
que de fuerza alientas y de ensueños vistes,
coronado de áureo yelmo de ilusión!
¡que nadie ha podido vencer todavía,
por la adarga al brazo, toda fantasía,
y la lanza en ristre, toda corazón!
que de fuerza alientas y de ensueños vistes,
coronado de áureo yelmo de ilusión;
que nadie ha podido vencer todavía,
por la adarga al brazo, toda fantasía,
y la lanza en ristre, toda corazón.Noble peregrino de los peregrinos,
que santificaste todos los caminos
con el paso augusto de tu heroicidad,
contra las certezas, contra las conciencias
y contra las leyes y contra las ciencias,
contra la mentira, contra la verdad...¡Caballero errante de los caballeros,
varón de varones, príncipe de fieros,
par entre los pares, maestro, salud!
¡Salud, porque juzgo que hoy muy poca tienes,
entre los aplausos o entre los desdenes,
y entre las coronas y los parabienes
y las tonterías de la multitud!¡Tú, para quien pocas fueron las victorias
antiguas y para quien clásicas glorias
serían apenas de ley y razón,
soportas elogios, memorias, discursos,
resistes certámenes, tarjetas, concursos,
y, teniendo a Orfeo, tienes a orfeón!Escucha, divino Rolando del sueño,
a un enamorado de tu Clavileño,
y cuyo Pegaso relincha hacia ti;
escucha los versos de estas letanías,
hechas con las cosas de todos los días
y con otras que en lo misterioso vi.¡Ruega por nosotros, hambrientos de vida,
con el alma a tientas, con la fe perdida,
llenos de congojas y faltos de sol,
por advenedizas almas de manga ancha,
que ridiculizan el ser de la Mancha,
el ser generoso y el ser español!¡Ruega por nosotros, que necesitamos
las mágicas rosas, los sublimes ramos
de laurel Pro nobis ora, gran señor.
¡Tiembla la floresta de laurel del mundo,
y antes que tu hermano vago, Segismundo,
el pálido Hamlet te ofrece una flor!Ruega generoso, piadoso, orgulloso;
ruega casto, puro, celeste, animoso;
por nos intercede, suplica por nos,
pues casi ya estamos sin savia, sin brote,
sin alma, sin vida, sin luz, sin Quijote,
sin piel y sin alas, sin Sancho y sin Dios.De tantas tristezas, de dolores tantos
de los superhombres de Nietzsche, de cantos
áfonos, recetas que firma un doctor,
de las epidemias, de horribles blasfemias
de las Academias,
¡líbranos, Señor!De rudos malsines,
falsos paladines,
y espíritus finos y blandos y ruines,
del hampa que sacia
su canallocracia
con burlar la gloria, la vida, el honor,
del puñal con gracia,
¡líbranos, Señor!Noble peregrino de los peregrinos,
que santificaste todos los caminos,
con el paso augusto de tu heroicidad,
contra las certezas, contra las conciencias
y contra las leyes y contra las ciencias,
contra la mentira, contra la verdad...¡Ora por nosotros, señor de los tristes
que de fuerza alientas y de ensueños vistes,
coronado de áureo yelmo de ilusión!
¡que nadie ha podido vencer todavía,
por la adarga al brazo, toda fantasía,
y la lanza en ristre, toda corazón!
matthew scott harris May 2017
HOW TO CONTRA DANCE
matthew scott harris
May 2017
(twas where aye met thee missus, but mooch as a natural euphoria experienced, i rarely returned to said venue, especially for many years when thy now na grown lovely lasses merely toddlers).
- - - - - - - - - - - - - - - - - - - - -
Go ahead and AskJeeves (or another available partner yea, that lonely looking gal or guy in mom genes), who can never refuse to kick up heals in this rollicking shenanigan – the rumor holds that said activity the most fun one can have with being clothed to another.
- - - - - - - - - - - - - - - - - - - - -
The caller will usually do a walk thru, which begins with the first two couples closest to the stage crew of lively musicians (frequently filling the makeshift hall with music aligned the genre of irish jigs and reels) beginning to pair off.
- - - - - - - - - - - - - - - - - - - - -
After couples one and two (nearest the band) complete their quartet, this process (sans participants coupling off) continues until the foot of the line.
- - - - - - - - - - - - - - - - - - - - -
Actually each duo of dancers within the foursome nearest or furthest from the podium dons the role of “first and second” couple respectively.
- - - - - - - - - - - - - - - - - - - - -
The walk thru can be helpful, especially for those unfamiliar with this social activity, which encroaches on the ordinary comfort zones because eye contact plus physical hand to hand fusion necessary.
- - - - - - - - - - - - - - - - - - - - -
Many of the routines utilize various combinations of approximately a couple dozen unique moves, where each distinct extemporaneously choreographed fancy footwork utilizes a unique variation of such movements.
- - - - - - - - - - - - - - - - - - - - -
The most frequent array of moves comprises the following terms, which I located at hyperlink - www.theyken.net/don/PDF/Glossary.pdf
- - - - - - - - - - - - - - - - - - - - -
Glossary of Contra Dance Figures:
- - - - - - - - - - - - - - - - - - - - -
Allemande Left - Two dancers join left hands about shoulder height with elbows bent down and walk a circular path.
- - - - - - - - - - - - - - - - - - - - -
Allemande, Mirror - Two couples, facing, starting with one couple going between the other couple. Give the person you are starting to pass your most convenient hand, right for two dancers and left for the other two, and turn as described in the allemande right and left.
- - - - - - - - - - - - - - - - - - - - -
Allemande Right - Two dancers join right hands about shoulder height with elbows bent down and walk a circular path.
- - - - - - - - - - - - - - - - - - - - -
Balance – The simplest balance is a step forward and backs. Another type of balance is a step on your right foot and swing your left foot over your right foot and then step on your left foot and swing your right foot over your left foot.
- - - - - - - - - - - - - - - - - - - - -
Balance and Swing - Face other dancer, take both hands, balance (as above) and swing the other dancer.
- - - - - - - - - - - - - - - - - - - - -
Baskets - More that two dancers, step in so all the dancers are in a very tight circle, place your hands behind the backs of the dancers next to you and join hands. Put your right foot in closer to the center of the circle and start to turn this basket by pushing with your left foot (like in a buzz step swing).
- - - - - - - - - - - - - - - - - - - - -
Box the Gnat - Partners (usually) join right hands, raise joined hands above the woman’s head, she walks under the joined hands, as the man walks around behind her. The dancers not only change positions but they end facing in the opposite direction.
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Cast Down – The dancer faces up and turns away from the center of the set and walks down the outside of the set.
- - - - - - - - - - - - - - - - - - - - -
Cast Off, Assisted - Two dancers, facing the same direction, put an arm around the other dancers waist, one dancer moves forward while the other dancer moves backwards.
- - - - - - - - - - - - - - - - - - - - -
Cast Off, Unassisted - One dancer, usually moving up the center or up the outside of the set, walks around an other dancer until they stand next to that dance facing the same direction.
- - - - - - - - - - - - - - - - - - - - -
Cast Up – The dancer faces down and turns away from the center of the set and walks up the outside of the set.
- - - - - - - - - - - - - - - - - - - - -
Circle Left – More than two dancers join hands and form a circle. Hands are joined at a height somewhere between you waist and shoulders. Dancers walk around in a circle to the left or counter- clockwise.
- - - - - - - - - - - - - - - - - - - - -
Circle Right – More than two dancers join hands and form a circle. Hands are joined at a height somewhere between you waist and shoulders. Dancers walk around in a circle to the right or clockwise.
- - - - - - - - - - - - - - - - - - - - -
Contra Corners - This figure is done in proper sets. The first couple turns each other by the right hand until they can turn their first corner, The person who was standing on the left side of your partner. The first couple then turns their first corners by the left hand, until they see the partners. The first couple again turn each other by the right hand and then turn their second corners, the person who was standing on the right side of your partner, by the left hand.
- - - - - - - - - - - - - - - - - - - - -
Courtesy Turn – Two dancers with right hands joined and left hands joined, about waist height, facing the same direction, woman on the man’s right. The woman walks forward while the man backs-up until they are facing the opposite direction.
Cross-Over or Pass Thru – Two-dancer walk by each other passing right shoulders.
- - - - - - - - - - - - - - - - - - - - -
Cross-Over is usually across the set. While Pass Thru is usually up and down the set.
- - - - - - - - - - - - - - - - - - - - -
Do-Si-Do – Two dancers walk forward pass each other right shoulders, pass behind the other dancer, and backup, passing left shoulders into the place where you started.
- - - - - - - - - - - - - - - - - - - - -
Do-Si-Do, Left Shoulder (also known as a See Saw) - Two dancers walk forward pass each other left shoulders, pass behind the other dancer, and backup, passing right shoulders into the place where you started.
- - - - - - - - - - - - - - - - - - - - -
Do-Si-Do, Mirror - Two couples, facing, starting with one couple going between the other couple. Then dance a do-si-do, the two dancers who pass right shoulders dancing right shoulder do-si-do the other two dancers who pass left shoulders dance a left shoulder do-si-do.
- - - - - - - - - - - - - - - - - - - - -
Down the Center, Turn Alone – Two dancers, usually a couple, walk down the center of the set, turn toward each other and return to the place where they started.
- - - - - - - - - - - - - - - - - - - - -
Down the Center, Turn As a Couple – Two dancers, usually a couple, walk down the center of the set.
- - - - - - - - - - - - - - - - - - - - -
Turn as a couple, the woman walks forward as the man backs up, until the couple is facing back in the direction they came from. Then return to a place across the set from where they started.
Figure of Eight – Two consecutive Half Figures of Eight (see below)
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Forward and Back – Dancers join hands with the dancer next to them and move forward four steps and back four steps.
- - - - - - - - - - - - - - - - - - - - -
Gate and Post - Two dancers facing in the same direction, join most convenient hands, right to left, keep hands about shoulder height, one dancer will walk forward in a circular path as the other dancer walks backward in a circular path.
- - - - - - - - - - - - - - - - - - - - -
Grand Chain - Three or more woman, make a right hand star, and turn the star until you meet the third (or designated) man, join left hands with the man and courtesy turn.
- - - - - - - - - - - - - - - - - - - - -
Grand Right and Left - Two dancers, join right hands, pull by and give left hands to the next dancer, pull by, and continue this until you meet the person you are told to meet or until the caller tells you to stop. Can be used in squares, contras, and circles.
- - - - - - - - - - - - - - - - - - - - -
Gypsy - a couple, walk once around each other, clockwise, and end where they started while looking wistfully into each others ' eyes.
Half Figure of Eight – Two dancers across from each other, in a contra, cross over while moving through the couple below (or above), the woman in the lead, they then cast up (down) to end in their partners original place.
Hey for Four – Two couples, facing, usually starting with the women moving to the center and passing right, then pass the opposite man who is moving forward by the left, the two men pass right in the center while the two women do a small loop to the left to face in, again the women pass right in the center as men do a small loop to the left to face in, women pass the men by the left, men pass right in the center and all return to original place.
- - - - - - - - - - - - - - - - - - - - -
Honor - Bow to your partner.
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Improper – In a contra, when a man is in the women’s line and/or a woman is in the Mens' line. The women’s line is the line on the left when viewed from the caller’s position.
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Ladies Chain – Two couples facing, the women join right hands and pull by each other, then give their left hands to the opposite man, finishing with a courtesy turn to face the other couple.
Lead Through - Two dancers facing in the same direction, join most convenient hands, right to left, and walk between the two dancers they are facing. Often followed by a cast to original place.
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Pass Thru - Two couples facing, both couples walk forward, passing the person you are facing by the right shoulder and ending in their place (do not turn around).
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Promenade – A couple, with the man’s right arm around the woman’s waist and her right hand in his right hand, and left hands joined in front of them, move in a forward direction, sometimes ending with a courtesy turn.
Promenade, Single File - All of the dancers in a single file or circle, facing the same direction, follow the dancer in front of you.
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Proper – In a contra, the men are in the mens' line and the woman are in the women’s line. The mens line is the line on the right when viewed from the caller’s position
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Right and Left – Two couples, take right hands with the person across the set and pull by, on the opposite side of the set courtesy turn the person next to you.
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Roll Away - A couple, both facing in the same direction, woman’s left hand in the man’s right hand, the man assists the woman, who rolls across in front of him, as he moves to his right. They both end facing the same direction as they started but they are in each others' place
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Star, Left Hand – Two couples, take left hands with the person diagonally across, then they all walk forward in a circular path.
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Star, Right Hand – Two couples, take right hands with the person diagonally across, then they all walk forward in a circular path.
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Swing – A couple, in a position similar to ballroom position, except the man and woman are right hip to right hip. The simplest descriptions I have heard is assume the above position and then try to walk behind your partner. The dancers can use a simple walking step or a buzz step.
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Turn - See allemande for right and left hand turn. A two hand turn - two dancers, facing, take the other dancers right hand in your left and their left hand in your right. Pull back slightly and both dancers walk clockwise until you get back to where you started.
- - - - - - - - - - - - - - - - - - - - -
Go ahead and AskJeeves (or another available partner yea, that lonely looking gal or guy in mom genes), who can never refuse to kick up heals in this rollicking shenanigan – the rumor holds that said activity the most fun one can have with being clothed to another.
- - - - - - - - - - - - - - - - - - - - -
The caller will usually do a walk thru, which begins with the first two couples closest to the stage crew of lively musicians (frequently filling the makeshift hall with music aligned the genre of irish jigs and reels) beginning to pair off.
- - - - - - - - - - - - - - - - - - - - -
After couples one and two (nearest the band) complete their quartet, this process (sans participants coupling off) continues until the foot of the line.
- - - - - - - - - - - - - - - - - - - - -
Actually each duo of dancers within the foursome nearest or furthest from the podium dons the role of “first and second” couple respectively.
- - - - - - - - - - - - - - - - - - - - -
The walk thru can be helpful, especially for those unfamiliar with this social activity, which encroaches on the ordinary comfort zones because eye contact plus physical hand to hand fusion necessary.
- - - - - - - - - - - - - - - - - - - - -
Many of the routines utilize various combinations of approximately a couple dozen unique moves, where each distinct extemporaneously choreographed fancy footwork utilizes a unique variation of such movements.
- - - - - - - - - - - - - - - - - - - - -
The most frequent array of moves comprises the following terms, which I located at hyperlink - www.theyken.net/don/PDF/Glossary.pdf
- - - - - - - - - - - - - - - - - - - - -
Glossary of Contra Dance Figures:
- - - - - - - - - - - - - - - - - - - - -
Allemande Left - Two dancers join left hands about shoulder height with elbows bent down and walk a circular path.
- - - - - - - - - - - - - - - - - - - - -
Allemande, Mirror - Two couples, facing, starting with one couple going between the other couple. Give the person you are starting to pass your most convenient hand, right for two dancers and left for the other two, and turn as described in the allemande right and left.
- - - - - - - - - - - - - - - - - - - - -
Allemande Right - Two dancers join right hands about shoulder height with elbows bent down and walk a circular path.
- - - - - - - - - - - - - - - - - - - - -
Balance – The simplest balance is a step forward and backs. Another type of balance is a step on your right foot and swing your left foot over your right foot and then step on your left foot and swing your right foot over your left foot.
- - - - - - - - - - - - - - - - - - - - -
Balance and Swing - Face other dancer, take both hands, balance (as above) and swing the other dancer.
- - - - - - - - - - - - - - - - - - - - -
Baskets - More that two dancers, step in so all the dancers are in a very tight circle, place your hands behind the backs of the dancers next to you and join hands. Put your right foot in closer to the center of the circle and start to turn this basket by pushing with your left foot (like in a buzz step swing).
- - - - - - - - - - - - - - - - - - - - -
Box the Gnat - Partners (usually) join right hands, raise joined hands above the woman’s head, she walks under the joined hands, as the man walks around behind her. The dancers not only change positions but they end facing in the opposite direction.
- - - - - - - - - - - - - - - - - - - - -
Cast Down – The dancer faces up and turns away from the center of the set and walks down the outside of the set.
- - - - - - - - - - - - - - - - - - - - -
Cast Off, Assisted - Two dancers, facing the same direction, put an arm around the other dancers waist, one dancer moves forward while the other dancer moves backwards.
- - - - - - - - - - - - - - - - - - - - -
Cast Off, Unassisted - One dancer, usually moving up the center or up the outside of the set, walks around an other dancer until they stand next to that dance facing the same direction.
- - - - - - - - - - - - - - - - - - - - -
Cast Up – The dancer faces down and turns away from the center of the set and walks up the outside of the set.
- - - - - - - - - - - - - - - - - - - - -
Circle Left – More than two dancers join hands and form a circle. Hands are joined at a height somewhere between you waist and shoulders. Dancers walk around in a circle to the left or counter- clockwise.
- - - - - - - - - - - - - - - - - - - - -
Circle Right – More than two dancers join hands and form a circle. Hands are joined at a height somewhere between you waist and shoulders. Dancers walk around in a circle to the right or clockwise.
- - - - - - - - - - - - - - - - - - - - -
Contra Corners - This figure is done in proper sets. The first couple turns each other by the right hand until they can turn their first corner, The person who was standing on the left side of your partner. The first couple then turns their first corners by the left hand, until they see the partners. The first couple again turn each other by the right hand and then turn their second corners, the person who was standing on the right side of your partner, by the left hand.
- - - - - - - - - - - - - - - - - - - - -
Courtesy Turn – Two dancers with right hands joined and left hands joined, about waist height, facing the same direction, woman on the man’s right. The woman walks forward while the man backs-up until they are facing the opposite direction.
Cross-Over or Pass Thru – Two-dancer walk by each other passing right shoulders.
- - - - - - - - - - - - - - - - - - - - -
Cross-Over is usually across the set. While Pass Thru is usually up and down the set.
- - - - - - - - - - - - - - - - - - - - -
Do-Si-Do – Two dancers walk forward pass each other right shoulders, pass behind the other dancer, and backup, passing left shoulders into the place where you started.
- - - - - - - - - - - - - - - - - - - - -
Do-Si-Do, Left Shoulder (also known as a See Saw) - Two dancers walk forward pass each other left shoulders, pass behind the other dancer, and backup, passing right shoulders into the place where you started.
- - - - - - - - - - - - - - - - - - - - -
Do-Si-Do, Mirror - Two couples, facing, starting with one couple going between the other couple. Then dance a do-si-do, the two dancers who pass right shoulders dancing right shoulder do-si-do the other two dancers who pass left shoulders dance a left shoulder do-si-do.
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Down the Center, Turn Alone – Two dancers, usually a couple, walk down the center of the set, turn toward each other and return to the place where they started.
- - - - - - - - - - - - - - - - - - - - -
Down the Center, Turn As a Couple – Two dancers, usually a couple, walk down the center of the set.
- - - - - - - - - - - - - - - - - - - - -
Turn as a couple, the woman walks forward as the man backs up, until the couple is facing back in the direction they came from. Then return to a place across the set from where they started.
Figure of Eight – Two consecutive Half Figures of Eight (see below)
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Forward and Back – Dancers join hands with the dancer next to them and move forward four steps and back four steps.
- - - - - - - - - - - - - - - - - - - - -
Gate and Post - Two dancers facing in the same direction, join most convenient hands, right to left, keep hands about shoulder height, one dancer will walk forward in a circular path as the other dancer walks backward in a circular path.
- - - - - - - - - - - - - - - - - - - - -
Grand Chain - Three or more woman, make a right hand star, and turn the star until you meet the third (or designated) man, join left hands with the man and courtesy turn.
- - - - - - - - - - - - - - - - - - - - -
Grand Right and Left - Two dancers, join right hands, pull by and give left hands to the next dancer, pull by, and continue this until you meet the person you are told to meet or until the caller tells you to stop. Can be used in squares, contras, and circles.
- - - - - - - - - - - - - - - - - - - - -
Gypsy - a couple, walk once around each other, clockwise, and end where they started while looking wistfully into each others ' eyes.
Half Figure of Eight – Two dancers across from each other, in a contra, cross over while moving through the couple below (or above), the woman in the lead, they then cast up (down) to end in their partners original place.
Hey for Four – Two couples, facing, usually starting with the women moving to the center and passing right, then pass the opposite man who is moving forward by the left, the two men pass right in the center while the two women do a small loop to the left to face in, again the women pass right in the center as men do a small loop to the left to face in, women pass the men by the left, men pass right in the center and all return to original place.
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Honor - Bow to your partner.
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Improper – In a contra, when a man is in the women’s line and/or a woman is in the Mens' line. The women’s line is the line on the left when viewed from the caller’s position.
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Ladies Chain – Two couples facing, the women join right hands and pull by each other, then give their left hands to the opposite man, finishing with a courtesy turn to face the other couple.
Lead Through - Two dancers facing in the same direction, join most convenient hands, right to left, and walk between the two dancers they are facing. Often followed by a cast to original place.
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Pass Thru - Two couples facing, both couples walk forward, passing the person you are facing by the right shoulder and ending in their place (do not turn around).
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Promenade – A couple, with the man’s right arm around the woman’s waist and her right hand in his right hand, and left hands joined in front of them, move in a forward direction, sometimes ending with a courtesy turn.
Promenade, Single File - All of the dancers in a single file or circle, facing the same direction, follow the dancer in front of you.
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Proper – In a contra, the men are in the mens' line and the woman are in the women’s line. The mens line is the line on the right when viewed from the caller’s position
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Right and Left – Two couples, take right hands with the person across the set and pull by, on the opposite side of the set courtesy turn the person next to you.
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Roll Away - A couple, both facing in the same direction, woman’s left hand in the man’s right hand, the man assists the woman, who rolls across in front of him, as he moves to his right. They both end facing the same direction as they started but they are in each others' place
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Star, Left Hand – Two couples, take left hands with the person diagonally across, then they all walk forward in a circular path.
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Star, Right Hand – Two couples, take right hands with the person diagonally across, then they all walk forward in a circular path.
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Swing – A couple, in a position similar to ballroom position, except the man and woman are right hip to right hip. The simplest descriptions I have heard is assume the above position and then try to walk behind your partner. The dancers can use a simple walking step or a buzz step.
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Turn - See allemande for right and left hand turn. A two hand turn - two dancers, facing, take the other dancers right hand in your left and their left hand in your right. Pull back slightly and both dancers walk clockwise until you get back to where you started.