Contra dance choreography
The contra dance choreography specifies the dance formation, the figures and the order of these figures in a dance. The figures ideally repeat themselves in a graceful, flowing pattern and are coordinated with the phrasing of the music. In particular, with a few exceptions, Contra Dance figures have no defined footwork; Much of the dance is performed as a walking motion, one step for each beat in the music. Arms and hands carry out most of the changes - especially the transition from formation to formation. The connection usually changes to the hands of other dancers.
Most choreographies consist of a sequence of about six to twelve individual figures that the caller (ger .: Caller announces) to the beat of the music during the dance. After several repetitions, the caller reduces his announcements, sometimes to a single word for each figure. He completely stops making the announcements when the dancers feel confident with the choreography, leaving the dancers to themselves and the music.
This article is a translation and an adaptation of the content of the English language version: Contra Dance Choreography . This information is intended to serve as a reference and overview especially for new dancers.
Basics
A figure is a sequence of movements that is typically carried out over eight counts, there are also figures with four or sixteen counts. Each dance contains a sequence of figures that have been put together in such a way that the dancers can perform the next sequence with a new partner or dance couple along the formation (English: set).
rhythm
A count (as defined above) is a beat of music such as B.
- a quarter note in 2/4 or 4/4 time or
- three eighth notes in 6/8 time.
Since Contra Dance are dances with walking movements, each counter in the choreography typically corresponds to a single physical step in a figure and a beat in the music. The typical Contra Dance choreography consists of four parts, each 16 beats (8 bars) long. The parts are named A1, A2, B1 and B2. This nomenclature results from the music: Dance music typically consists of two parts (A and B), each 16 counters long and each one part of the dance. The A and B voices are played twice in a row, i.e. A1, A2, B1, B2. While the same music is generally played in parts A1 and A2, these parts have their own choreography. 64 counters typically form a choreography that fits the described phrasing of the music. Music of this form is called "square"; Melodies that deviate from this form are called "crooked".
Body tension and counterweight ( giving weight )
An essential element of Contra Dance is the creation of a slight physical tension between dancers. To create this tension, for figures that are danced in a two-person formation, lean slightly away from your partner and maintain significant tension in your body, arms, hands and fingers; do not press too hard, but do not let your arms hang slack or go into full extension. This will help you and your partner move in unison. The counterweight created enables rotating figures to be performed faster and with more flair, and creates the feeling of dancing with the other person and not just in their vicinity. Weight can also be referred to as elasticity or tension.
Same-sex couples can be found again and again in contra dancing, typically to balance different numbers of men and women or according to preference. In the following descriptions, the terms gentleman and lady refer to the roles in the dance and not to gender. For better readability, both genders are not mentioned, eg: dancer for "dancer and dancer", but instead they are named alternately, unless this is relevant to the definition of the figure.
Figures of square and contra dance
In the following explanations, the term used in English is named and a literal translation is given. This makes it easier to recognize or memorize the characters.
Basic figures for single dancers and couples
In the following explanations, the term used in English is named and a literal translation is given. This makes it easier to recognize or memorize the characters. The figures are listed in alphabetical order.
Allemande Turn (from French: German rotation, hand tours)
After the announcement, two dancers connect right or left hands with the fingertips up and the thumb on the back of the other hand. They move around each other around the clasped hands.
Balance (cradle step)
The couple stand together with one or both hands and dance a step towards each other to the beat of the music, a final step, then a step apart and a final step. In some areas it is typical to replace the last steps with a stomp, kick or jump, which emphasizes the rhythm of the figure. A swing often follows a “balance”. A balance can also be done in lines or circles with several dancers.
Butterfly Whirl (butterfly whirl)
Starting formation: Two dancers, typically lady and gentleman, stand next to each other, with an open hand gripping or with the palm of the hand each holding the partner's waist. There is a rotation as a pair to the right or left, typically as a continuation of the direction of rotation introduced by the previous figure. The person who is initially on the inner circle goes backwards, the other person forwards.
Alternative versions: the lady places her palm on the man's shoulder. Example: The gentlemen dance an Allemande Left (left hand tour), "grab" their partner on the way by putting their arm around the waist of their lady. Next, the gentlemen let go of their left hands and the two couples dance the butterfly vortex back into place, the gentleman is on the inner lane and dances backwards.
Courtesy Turn
The gentleman takes the lady's left hand in his left hand and places his right hand on her back at shoulder blade level, alternatively the right hands are grasped on the lady's back. The dancers stand side by side as they spin as a couple. The dancers end up facing the middle of the formation as a couple. The gentleman always goes backwards while the lady goes forward.
Thu-Si-Thu, also Thu Sa Thu (from the French: back-to-back)
Starting formation: two dancers standing in front of each other. You move around each other while maintaining your line of sight. Starting with the right shoulder, the dancers walk past each other ("Pass by the right"), then slide back to back to the other side. You pass the person opposite you backwards and shoulder to your left and return to the starting point.
For the variant: "1 1⁄2 times" dance the first half, right shouldered again. Finish the figure in the place of the person and with your back to the opposite. As an ornament, skilled dancers often add a spin while performing this figure. A spin is a single spin in place.
Gypsy (gypsy)
This figure was taken from the English country dance. Two dancers addressed establish and maintain eye contact. They go in the hip direction: right or left shouldered around each other without touching each other. The intensity of eye contact depends on several factors, including individual comfort and local tradition.
In response to some objections, callers sometimes use a number of new terms, especially the right shoulder round [2] [3]. The caller then says: "Right / left shoulder around your neighbor"
Promenade (go for a walk)
In the same direction next to each other, the dancers walk in the direction announced by the caller, typically in the dance direction. The lady is on the right. Different hand connections between the dancers are possible:
- open hand grip - the couple almost internal hands. The gentleman offers the lady the inner (right) hand with the palm facing up. The lady puts her inner (left) hand into it. All fingertips point forward.
- Courtesy Turn Position - (see Courtesy Turn above).
- Skater promenade or crosshand grip - as in the courtesy turn, the couple connects the left hand in front; instead of connecting the right hand behind the lady's back, the right hand is connected in front of the left hand.
- Varsouvienne Position - In this position, the gentleman is slightly behind the lady, with her left hands gathered in front of her left shoulder and right hands gathered over her right shoulder.
At the end of the figure, the gentleman can invite the lady to turn once under the clasped hands. The Lord raises his left hands for this. This ornament is supposed to increase the fun of the dance, but often slows down the movement and can disrupt the course of the dance. Boardwalks are often used to move a couple to the other side of the set, to bring dancers back into place, or to move all dancers forward in the dance direction.
Roll Away (roll away, roll over)
Starting formation: Two dancers looking in the same direction and having a hand connection. The addressed dancer turns (Rollaway) with a full turn (360 °) on the place of the dance partner while the latter moves in a lateral movement and without turning behind the rolling dancer on his place. At the end of the figure, both have swapped places and are looking in the same direction in which they started the figure. In many cases this figure begins with the lady on the gentleman's left. She passes before the Lord. Offering a counterweight to the partner is of central importance to this figure.
Sashay
The partners face each other and hold both hands. You move sideways in a sideways gallop in the direction indicated by the caller.
Swing (rocking, means: turning in a circle as a couple)
The couple go into a closed dance posture: the lady's left hand on the gentleman's shoulder, the gentleman's right hand on the lady's left shoulder blade, the free hands grasped. Dancers walk around each other in simple steps or in a step that is similar to moving on a scooter. A swing usually ends with a view in the direction suggested by the caller, typically in the dance direction or towards the center of the formation. The person with whom a swing is danced becomes the (new) dance partner. The gentleman ends to the left of the lady.
Turn Alone / U-Turn Back
The person or persons addressed turn around on the spot. It is considered polite to turn in the direction of the person with whom you are currently interacting - for example if another person can be identified as the current dance partner, for example by holding hands.
Turn as a Couple / Wheel around
In this figure, two dancers who are currently partners with each other and who have established a hand connection turn around as a couple. The dancer standing on the left goes backwards, the other forwards (wheel around). The movement pattern is similar to the courtesy turn, but is more freely defined: any dancers can stand next to each other. Dancers also like to perform the announcement as a California Twirl.
Twirl to Swap (twirl to swap places)
This is a generic term for a series of dance moves that are danced as a couple and in which gentlemen and ladies swap positions and look. They raise their common hands and the lady passes under the clasped hands while the gentleman walks around behind the lady. They differ in the direction in which the couple is looking and the hand position used.
- California Twirl - The couple begin standing next to each other, the lady on the right side of the gentleman, her hands together. The figure ends looking in the opposite direction.
- Star thru - The couple begins to face each other. During the change of place, the couple put their palms together (gentleman on the right, lady on the left), the fingertips are initially pointing upwards. Both dancers turn 90 degrees in the direction of the held hands during the figure. The couple ends up standing next to each other in open hands.
- Box the Gnat - The couple start out facing each other. The right hands are held loosely so that the hands can move in the pose. You end up with your hands facing each other.
- Swat the flea - The same figure as Box the Gnat performed only with the left hand held. This figure is popularly known as the Left Box the Gnat.
Basic figures for four or more people
Star
Starting formation: four people in a formation, typical: two couples facing each other. As announced, the dancers bring their right or left hands together in the middle of the formation and walk around the common star point. Four dancers move all around in a star in 8 steps. Fractions are also possible, for example stars that are rotated 3⁄4 or 1 1⁄4.
There are several ways to reach the star. The style in which the star is danced generally depends on local customs. In addition, the execution can be specified in the choreography:
- New England style, wrist grip or wagon wheel star: each dancer grabs the wrist of the person in front of him with his. This is one of the few figures for which it is important not to counterbalance, as this can be particularly uncomfortable for the dancers. - Southern style, sometimes also called handshake grip stars, English style or hands-across stars: each dancer connects with the person in the formation diagonally across from them through a hand grip. Mostly the person is of the same sex. It usually doesn't matter whose hands are up or down (women's or men's hands).
Ladies Chain
In fact, half of the execution of a women's chain is usually meant. Starting formation: Two couples facing each other. This is more common and is what the caller means when he says "Ladies Chain". The women hold their right hands in the middle and walk past each other to the gentleman opposite.
The men give the women their left hands and lead the women around in a courtesy turn (see above). It increases the success of the dance if the men actively “receive” the women and show them around, even if they are not addressed directly in this figure. The women have effectively swapped sides and places in the formation. A full ladies chain consists of two ladies chains in a row. As a result, the women end up at their original place.
Long Lines Forward and Back
Starting formation: two lines that face each other. The dancers reach through with their hands in their line and typically form long lines on the sides of the hall. These two lines then ideally dance in unison, four steps towards each other and then four steps back to the square.
Right and Left Thru
Starting formation: Two couples facing each other. The dancers approach each other, give the dancer their right hand across the street and then walk past each other onto the square opposite. This is followed by a courtesy turn (see above). The figure can also be danced without holding the hand. This variant is called: "Rights and Lefts".
Petronella Turn (Petronella Turn)
Starting formation: four dancers drawn into a circle. All dance a balance in a circle (4 counters) and turn to the position of the dancer on her right, while individually turning clockwise (4 counters). This movement was derived from the dance of the same name "Petronella", a Scottish folk dance. As a decoration, the dancers clap their hands on counters 7.5 and 8.
Hey for four (hello for four)
(Sometimes referred to as "Straight Hey for Four".) The dancers perform a series of passes and spins with the other dancers in their set of four. They switch to the opposite side of the set and then return. This figure can be danced in many different ways and from different starting positions.
A variant will be explained as an example. Starting formation: Two couples facing each other, the lady on the right side of the gentleman:
- The women begin to pass right shoulders in the middle of the set while the men move to the right to take their lady's current position.
- Lady and gentleman pass each other on the left shoulder, the gentlemen advance to the center.
- The men then walk past the right shoulders in the middle, while the women dance a wide loop to the left on the outside to get back to the set.
- Lady and gentleman pass each other on the left shoulder, the ladies advance to the center.
That's almost the first half of the hey. The second half is a repetition of the first half from the other side. The gentlemen now bring themselves back into position behind the lady with a loop to the left. At the end of the hay the dancers are brought back to their starting position, with the difference that the gentlemen end outside of the set.
Note that this figure is performed very gently and that your own movement is in arcs around the other dancers. All dancers move all the time and not bit by bit as the description suggests.
All versions of a full hey for four follow this pattern. The starting formation and the relative position of men and women in the pair can vary. For example, the gentleman from the left can also start a Hey for Four. In the example described above, roles (lady and gentleman) and direction (right and left) would then be swapped. It is highly recommended that newcomers learn this figure with the help of experienced dancers.
The turning loops outside may and should be danced extensively. This ensures that the dancers do not return to the center too early and cause congestion there, which is the most common cause of confusion and the collapse of this figure. The encounters always take place alternately, right - left - right ... Another cause of errors is when the dancers happen in the middle on the "wrong" side. If a hey breaks down, please return quickly to the starting point. There is enough time there to wait for the next announcement from the caller and to continue the dance without interruption.
Changes and variations: Experienced dancers often forgive by turning themselves or other dancers during the encounter (spin). This variant should only be danced with sufficient experience.
Half Hey (Half Hey)
Half a hey for four. Instead of crossing the set and returning, the dancers cross the set only once and end up with the couples on opposite sides of the set.
Figure Eight
A weaving figure in which the dancers addressed walk between two standing people and move around them in a pattern as shown in FIG. A full figure eight brings the dancer back to her starting position; a half eight ends opposite the starting position. In this figure the Lord lets his partner go by in front of him.
Circle Left (or) Right. Circle left (or) right
Typically four people join hands and walk around in a circle to the left, clockwise (or to the right, counter-clockwise). The circling can be 1⁄4 of a circle (seldom), 1⁄2 (less seldom), 3⁄4 or once around (often), or 1 1⁄4 (less often), each of these fractions dividing the dancers into one exactly brings a defined end position that is predetermined by the flow or the choreography. Offering a counterweight to the neighboring dancers makes the movement much more beautiful and interesting. The vast majority of contra dance circles start to the left.
Down the Hall Four in Line - Down the hall four in line
Two couples join hands to form a row of four and walk down the hall from the music / caller. Embellishment: The middle dancers can let the dancers go crazy under the arm at the end.
Pass Thru (traverse, go through)
Starting formation: two dancers standing in front of each other. They pass each other on the right shoulder without touching. The figure is always performed individually with the person opposite. A pass thru can be done from side to side. The figure is also often used to bring the couples along the hall to the next couple.
Give and take
Two couples face each other. The dancers approach each other and take both hands with the person opposite. The named person takes the person opposite to him on the side. Example ladies give and take. The lady goes backwards and takes the gentleman from across to her own side. This figure is practically always followed by a swing.
Cross Trail (cross the paths)
Starting formation: Two dancers next to each other, e.g. E.g .: Mr on the left, lady on the right. The dancers move to the opposite side of the formation, crossing paths in the process. The lady crosses to the left in front of the gentleman. Depending on the announcement, the figure ends with the same line of sight or back-to-back.
Advanced or less often danced figures
Turn Contra-Corners (tour with the corner [dancers])
Or: turn contra corners
Turn Contra Corners is a figure in which six dancers are involved and 16 counters are required to perform. The partner faces each other, and typically men and women each form a row. The middle pair is the active pair (see drawing: No. 1), the other four dancers in the group are the corners (see drawing: No. 2).
The figure is danced as follows: The active couple dances a right hand tour (Allemande Right) a little more than halfway to the original corner dancer who is diagonally opposite on the right. The active players release the right hand connection and dance a left hand tour (Allemande Left) with the corner until they meet again in the middle of the formation. The active ones break the connection with the corner and dance an allemande right until they reach their second corner. An Allemande Left with the second corner ends the figure. The active couple meets again in the middle. The next figure typically begins with the right hand or shoulder for one or more couples. Often these are the figures: balance, swing or dosado. Further allemande turns are also possible.
The allemande turns are performed in smooth movements. This requires a high degree of attention and spatial orientation, especially with new dancers. Assistance: All dancers, active and corner, should make eye contact with the person with whom the next allemande turn will be danced at an early stage. The corners support the sequence of the figure by fishing out the right active dancer. To do this, you offer the left hand at the right time.