Dear callers,

There isn’t a contra fashion email list, so I’m turning to this one since we 
all spend a lot of time looking at dancers :)

Some of you may have seen the recent survey about dancing in skirts/skirts for 
dancing that I helped a dancer friend create/disseminate: 
https://docs.google.com/forms/d/e/1FAIpQLSfpgbzYSntTZlAgkNvfI8uhISstHGqhPpVPWRUWnx32V1GIcw/viewform
 — feel free to fill it out!

As we were writing up an article about the initial results that includes advice 
on choosing skirts for dancing, aimed broadly to include all dancers, I made 
the following unsubstantiated claim:

"These results suggest that for contra dancers, the primary benefit of a skirt 
is the extent to which it extends, amplifies, and enhances the sensation of the 
dance – particularly twirls and other flourishes. History bears this out: a 
more universal adoption of flowing and flaring skirts among contra dancers, 
regardless of gender or prior style preferences, coincided with the explosion 
of interest in flourishes and improvisational elaboration of the basic dance 
form among contra dancers at the turn of the 21st century.”

Robert challenged me on the second sentence, asking what evidence I had — and I 
freely admitted I was extrapolating from my own lived experience, and had no 
proof that this was broadly true. And before you all jump in, I will 
acknowledge that the phenomenon of universal skirt-wearing, regardless of 
gender, also depended quite a lot on the changing cultural discourse around 
masculinity — especially in socially progressive communities. But I’m still 
interested in the hypothesis that there’s a choreographic/phenomenological 
connection.

After all, progressive men have existed in the contra community for a long time 
and haven’t (if video/photographic evidence is accurate) always worn skirts for 
dancing — so we want to know, when did skirts become familiar enough on every 
gender that a (person likely to be interpellated as a) man wearing a skirt was 
unsurprising?

Thanks for all respectful input,

Louise Siddons
Winchester, UK
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