Contra dance

Thursday night contras in Cambridge, Massachusetts

Contra dance (also Contradance, Contra-dance and other variant spellings) refers to several folk dance styles in which couples dance in two facing lines. The name derives from the name of a French dance very popular in the 18th century and means "counter-dance". Some authorities (including the Oxford English Dictionary) consider the name's origin to be a corruption of the English country-dance, while others (including Merriam-Webster) consider that to be folk etymology.

Classical composers such as Wolfgang Amadeus Mozart and Ludwig van Beethoven wrote pieces in a style of music called a 'contredanse' -- not related to this usage of Contra dance.

New England Contradance

A New England contradance is an American traditional dance evolved from English country dance and European contredanse.

History

At the end of the 17th century, English country dances were taken-up by French dancers — hybrid choreographies exist from this period that use the steps from French court dance in English dances. The French called these dances contra-dance or contredanse. As time progressed, English country dances were spread and reinterpreted throughout the Western world, and eventually the French form of the name came to be associated with the American folk dances.

Contradance events

Most contradance events are open to all comers, regardless of experience, and the tradition is to change partners for every sequence (so you don't need to bring a partner). A typical evening of contradance is 3 hours long, including an intermission. During a typical event, a dozen or so dance sequences are done. Almost all dance sequences are "walked through" before the music begins as the caller teaches that particular sequence. The music begins and the dancers repeat that sequence some number of times before the dance ends. Then the dancers thank their partners, and find new partners for the next dance.

At public dances, music is invariably provided by a live band playing jigs and reels from the British Isles, Canada, the USA, and, as a novelty, tunes exhibiting the musical motifs of other exotic locales (eastern Europe, Russia, etc.). Contradances are held all across the United States (and also Belgium, Denmark, England, Canada, Czech Republic and Australia).

No special outfits are worn, but "peasant skirts" or other full, light weight skirts are popular, as these have a very pretty effect when swinging. This includes some men as well; contradancers can be quite liberal. Low, broken-in, soft-soled, non-marking shoes are recommended.

Choreography

Most contradances consist of a sequence of about six to twelve individual figures. These figures are prompted by a caller (like a square dance) in time to the music as the figures are danced. As the sequence repeats, the caller may cut down their prompting, and eventually drop out, leaving the dancers moving to the music.

Types of Sets

Contradances often are arranged in long lines of facing or opposing partners, called sets. The three predominant arrangements or formations are proper, improper, and Becket. Becket formation is named after "Becket Reel" by Herbie Gaudreau, probably the first contredance to use this formation. The dance itself is named after the town of Becket, Massachusetts. Unlike the so-called "whole-set" dances like the Virginia Reel, you and your partner are primarily interacting with an adjacent couple for each round of the dance. The sub-groups of two couples is known as the "minor set". Rare (but formerly prevalant) dance sequences have three couples per minor set; these are called "triple minor", while the usual grouping is called "duple minor". Couples consist of one "lady" and one "gentleman"; ladies are usually female, and gentlemen (often abbreviated "gents") are usually male, but contra dancers are notorious for taking the "opposite" gender role.

Proper

L1 L2 L1 L2 L1 L2 L1 L2...
G1 G2 G1 G2 G1 G2 G1 G2...

Improper

G1 L2 G1 L2 G1 L2 G1 L2...
L1 G2 L1 G2 L1 G2 L1 G2...

Becket

L1 G1 L1 G1 L1 G1 L1 G1...
G2 L2 G2 L2 G2 L2 G2 L2...

Key: band is to the left, L=lady, G=gent, 1=1st couple, 2=2nd couple)

Sets are generally arranged so they run along the length of the hall, with the "top" or "head" of the set being the end closest to the band and caller. Correspondingly, the "bottom" or "foot" of the set is the end furthest from the caller. Dancers moving toward the band are moving "up the hall", and "down the hall" when moving away. As a dance progresses, so do the dancers: the arrangement of the figures causes each couple to move together up or down the hall, when they reach the end of the hall they reverse direction across the set. When a couple reaches the end of the line, they simply turn around and join back in, going in the opposite direction.

Figures

A figure is a short dance "step" or "move", sort of a choreographic building block. Most figures take eight counts of music, although figures with four or sixteen counts are also common. Each dance is a collection of figures assembled to allow the dancers to progress along the set. "Weight" refers to the weight of dancers as they pull against each other. Many figures must be done faster and with extra flair if "weight" is applied. Most experienced dancers often feel that this is more entertaining.

Basic Figures for Singles and Pairs

Allemande: Two dancers join either right or left hands in a thumbs-up grip and walk around each other.
Balance: The couple faces each other with both hands joined (less commonly with one hand joined) and, in time to the music, takes two steps toward each other, and then two steps apart. Often followed by a swing. Balances may also be done in lines or circles.
Butterfly Whirl: The gentleman and lady turn around, while keeping hold of their partner's waist. Facing the same direction, with inside arms reaching across their partner's backs, in a circle the lady walks forward and the gent backs up. This often leads into a ladies' chain, or something with the ladies in the center. A common prequel to this figure is the following: gentlemen do a left hand allemande, then "scoop up" their partner by putting their arm around their lady's waist. Next the gents let go of each other and the two couples butterfly whirl back to place.
Courtesy Turn: Generally done when the ladies are crossing the set to the gentlemen. The gentlemen allows the lady to turn around while moving, continuing to move forward. The gentlemen moves backward during the figure.
Do-Si-Do: Two dancers begin facing each other, move so as to pass right shoulders, then back-to-back, then left shoulders, ending where they began. Sometimes they do-si-do 1 1/2 times, exchanging places. As an embellishment, experienced dancers will often add a spin to this move. Often, newcomers ill-advisedly copy this flashy, but potentially disorienting behavior.
Gypsy: This relatively recent addition to the repertoire was adapted from English country dancing. The pair looks each other in the eyes and walks around each other in the designated direction, without touching each other. The amount of eye contact depends on various factors including individual comfort and local tradition.
Promenade: As a couple, with the lady on the right, the couple walks where the caller directs. There are several different handholds. In one method, the gent holds hands with the lady, left hands (his arm across his body by) low, and his right arm across her back with right hands above the lady's right shoulder. In another method right hands are joined, and left hands are joined, and both are kept in front of the dancer's body, with the right hands on top. The gent may choose to spin the lady under his arm at the end as a flourish. Promenades are frequently used to bring dancers back to place (often useful when dancers get lost mid-dance).
Roll Away with a Half Sashay: This figure begins with two opposite-gender-role dancers facing in the same direction, holding hands. One of them takes a step or two toward the other, who is pulled in front of him/her while changing hands. At the end of the figure, the dancers have changed places but are still facing in the same direction as initially. (Most commonly, this figure starts with the lady on the gent's left and the lady passes in front of the gent). Giving weight is of key importance in this figure.
Swing: A standard ballroom swing. The couple takes standard ballroom position, with the lady's left hand on the gent's shoulder, the gent's right hand on the lady's waist, and their free hands clasped together in the air. (Experienced dancers often experiment with other ways to place their hands.) One can either walk or use a buzz-step; one partner may walk while the other uses the buzz-step. For the buzz-step your right foot remains on the ground, with your partner's right foot to the right of it. Your left foot pushes against the ground repeatedly, moving you in a circle clockwise. Weight is very important in this figure. Usually ends facing across the set, sometimes down the set, rarely up the set, but always with the gent on the left and the lady on the right. It is generally recommended that newcomers get an experienced dancer to teach them this figure before the dance begins.
Turn Alone: Each person turns around in place. When in the center of a line of four it is polite to turn towards the person on the end. This often follows "Down the Hall Four In Line," (see below).
Turn as a Couple: In this figure a couple with hands joined turns around in such a way that the ladies remain on the same side of their gent, normally the right hand side. The California Twirl is commonly used to turn as a couple.
Twirl to Swap: This is a generic term for a number of dance moves which begin with a couple holding hands; they raise their joined hands, and the lady walks under them while the gent passes behind her, to trade places. There are a number of variants of this, depending on facing and on which hand is joined:

California Twirl: The lady begins on the gent's right facing in some particular direction; they have the convenient hand joined. The figure ends with them both facing in the opposite direction from their original one.
Star Through: The couple begins facing each other, with the gent's right hand and the lady's left hand joined. If the figure begins with the gent facing north and the lady south, then both will be facing east when the figure ends (with the lady on the gent's right).
Box the Gnat: The couple begins facing each other, with right hands joined. They end facing each other.
Swat the Flea: The couple begins facing each other, with left hands joined. They end facing each other.

Basic Figures for Four or More

Star: The four dancers in a minor set all join either right or left hands in the center of the set and walk around the set. A star usually turns one full time around, less commonly stars will turn 3/4 or 1 1/4 turns. There are two styles of stars, and which style of star is used generally depends upon local custom, although there are some dances that specify one or the other:

New England style, sometimes called wrist-grip stars or wagon-wheel stars: Each dancer places his or her hand on the wrist of the person in front of them as they face around the circle, forming a 'wagon-wheel' shape.
Southern style, sometimes called handshake-grip stars, English-style, or hands-across stars: Each dancer joins hands with the person directly across the set (usually the person of the same gender). It generally does not matter whose hands are on top or bottom (ladies' or gents').

Ladies Chain: A half ladies chain, which is more common and usually what a caller means when they just say "ladies chain," has the ladies joining right hands in the center and pulling past each other to the opposite gent; the gents then give the ladies a courtesy turn (see above). This causes the ladies to trade sides in the set. A full ladies chain is two half-chains in succession, with everyone winding up where they started.
Long Lines Forward & Back: All dancers face toward the dancers across the set from them, and join hands with the dancers beside them to form "long lines" on the sides of the set. These two lines then, in unison (ideally), take four steps together, and then four steps backward.
Right & Left Through: Both couples face each other across the set. They walk toward each other, passing through in the center such that the ladies pass left shoulders with each other and right shoulders with the opposite gent. The gents then give the ladies a courtesy turn (see below). The effect is that the couples trade sides of the set.
Petronella Turn: Four dancers, equally spaced around a small ring, move into the position of the dancer on their right in four steps while rotating (spinning) individually clockwise 3/4. This movement is adapted from the eponymous dance "Petronella," a traditional contra dance derived from a Scottish country dance of the same name. As a controversial embellishment, the folk process has added a "clap-clap" of hands on beats 3.5 and 4 of the 4-beat movement.
Hey For Four: The dancers execute a series of passes and turns with the other dancers in their minor set, crossing to the opposite side of the set and then returning. In this version of the hey, assume that neighbors are standing next to each other on the side of the set, facing their partners:

File:Hey for four.jpg

Hey For Four

The ladies begin passing right shoulders in the center of the set while the men sidle to right to take the recent position of their neighbor
Partners pass left shoulders as the gents advance to the center
The gents then pass right shoulders in the center, while the ladies make wide looping turns on the sides to turn around
Neighbors pass left shoulders
This is approximately one-half of the hey. The second half essentially replicates the first half (except that the men, now facing out, loop to the left instead of sidling to the right). At the end of the hey, the dancers are restored to the starting position, with the exception that the men are facing out of the set.

Note that this figure is executed smoothly, with all dancers moving all the time, and not piece-by-piece as this description might suggest. It is strongly recommended that newcomers get a few experienced dancers to teach them this figure.

Half Hey

Half a hey for four. Instead of crossing the set and returning, the dancers merely cross the set once.

Figure Eight

a weaving figure in which dancers pass between two standing people and move around them in a figure 8 pattern. A full figure of 8 returns the dancer to original position; a half figure of 8 leaves the dancer on the opposite side of the set from original position. In doing this figure, the gent lets his partner pass in front of him.

Circle Left (or) Circle Right

Four people join hands and walk around in a circle in a clockwise (or) counterclockwise direction. Circling can be 1/4 of a circle (rare), 1/2 (not common), 3/4 (frequent), once around (common),or 1-1/4 (not rare), each of these choreographing the dancers into a specific placement needed for the flow and pattern of the dance. Circling left (CW) comprises 98% of contradance circling.

Down the Hall Four In Line

Two couples join hands so that they form a line of four, and walk down the hall, or away from the music.

Pass Through

This figure is often used to progress (couple one to moves down the hall and couple two up). You walk across the set, passing the person opposite you by your right shoulder, without use of hands. Frequently follows either a circle or a neighbor do-si-do.

Advanced Figures

Turn Contra-Corners: A figure involving six dancers and taking a full 8 bars (16 beats) of music to complete. The center couple of the group of six dancers is the active couple; the other four dancers in the group are the corners. If a member of the active couple looks across the set, to the right of his partner, he sees his first corner. On the other side of his partner is his second corner. Typically, one's corners are of the opposite gender to oneself.
: The figure is danced as follows: the active couple takes right hands in the center, and allemande right until they reach their first corner. Actives drop right hands and allemande left with their first corners until they meet each other again. Actives now let go of first corners and allemande right until they reach their second corners. This final allemande is finished when the members of the active couple are facing each other again. The next move usually involves the active couple performing a figure beginning with the right hand or right shoulder, and is quite frequently a balance and swing.
: Because moves within this figure begin and end in the middle of musical phrases, require a great deal of awareness of positioning, and is frequently unprompted by the caller after the figure's start, this is a very difficult figure to those who are new to it, especially beginner dancers.
Right Hand High, Left Hand Low: This figure begins with three dancers holding hands in a line. The middle dancer raises his/her right hand; the dancer on the left walks under the raised hand, followed by the middle dancer, while the dancer on the right walks behind. The effect is to turn the line around as a unit (preserving the order of the dancers).
Dixie Twirl: In a line of four dancers, the center pair arches. The extreme right person leads through the arch (taking the one on their left along for the ride) while the left person walks to the right. This results in an inverted line now facing the other way.
See Saw (left shoulder do-si-do): Instead of starting the do-si-do with the right shoulder, the dancer starts with the left shoulder. (Two dancers begin facing each other, move so as to pass left shoulders, then back-to-back, then right shoulders, ending where they began. As an embellishment, experienced dancers will often add a spin to this move, as in a do-si-do.)

External links

See groups at:

Contra dance defined:

Find Dances at:

Some Swing Positions