Contradance

Contredance or contredanse is the name given to French developments of English country dance at the end of the 17th century. Discribed and developed by Raoul-Auger Feuillet in Recüeil de contredances (translated by John Essex into For the further improvement of dancing) contredance lead to the development of Baroque dance.

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

New England 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 contradance 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 dance sequences have three couples per minor set; these are called "triple minor", while the usual grouping is called "duple minor".)

Proper:

Improper:

Becket:

Sets are generally arranged so they run along the length of the hall with the "top" of the set is the end closest to the band and caller (coorespondingly the "bottom" of the set is the end furthest from the caller).

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.

Basic figures:

Balance

Swing

Allemande

Star

Do-si-do

Ladies Chain

Long Lines Forward & Back

Right & Left Through

Hey For Four

Hey For Three (uncommon)

Figure Eight

Promenade

Petronella Turn

Courtesy Turn

Circle of Four

Turn as a Couple

Turn Alone

California Twirl

Down the Hall Four In Line

Box the Gnat

Roll Away with a Half Sashay

Turn Contra-Corners

Gypsy

Cross Trail

Pass Through

Right Hand High, Left Hand Low (uncommon)

Dixie Twirl (uncommon)

Flutterwheel (uncommon)

Butterfly Whirl

See Saw (left shoulder do-si-do; uncommon)

Star Through (uncommon)

As a dance progresses, so do the dancers: the arrangement of the figures causes each couple to move together toward or away from the band. When a couple reaches the end of the line, they simply turn around and join back in, going in the other direction.

Most contra dance 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 contra dancing is 3 hours long, including an intermission. During the evening, 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 you repeat that sequence some number of times before the dance ends. Then you thank your partner, and find a new one 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.).

No special outfits are worn, but 'peasant skirts' are popular with women (and some men). Low, broken-in soft-soled non-marking shoes are recommended.