Re: [Callers] What is a contra?

[Donald Perley via Callers]

For my definition, key elements of a contra include:
1) repetition of a fairly short sequence of moves (typically 64 beats)
2) Whole and minor sets, couples progressing to a new minor set every
repetition.
3) The concept of dancing as part of a set more than couples or
individuals doing their own expression.

I'm waffling a bit on whether the form of the music (ie A and B parts)
should be included.  For tradition, I can search my collection for
"contradance" (or contradanze etc) and come
up lots of examples by Mozart etc in the same form we are used to today.


On Thu, Jun 28, 2018 at 7:13 AM John Rogers via Callers
 wrote:
>
> Colin,
>
> I realize this isn’t the kind of answer you are looking for, but I’ll muddy 
> the waters a bit, and then draw a conclusion.
>
> In the 1980s and 1990s I lived in Switzerland and was very active in 
> International, Swiss, and Scottish dance groups.  (I eventually had two 
> contra groups running, but that is a different story.)  The Swiss groups put 
> on a big dance for New Years, and if you planned to attend, you had to 
> practice up on a dance called the “Francaise.”  When I was taught the 
> Francaise, I was astonished to see that most of the figures were recognizable 
> as Contra/ Square figures, but given French names.  (“Right and Left Through” 
> or “Rights and Lefts” was called “Chaine Anglaise” for instance.)  
> Researching this a bit, I discovered that the “Francaise” was actually short 
> for “Contredanse Francaise.”  It turns out the French brought “Country 
> Dancing” back from Britain to France, and called it “Contredanse Anglaise.”  
> This spread through Europe, becoming all the rage in the 1800s, with dance 
> tunes being written by such luminaries as Johann Strauss.  Apparently the 
> rest of Europe thought the dance form came from France, because it was known 
> as “Contredanse Francaise” elsewhere.
>
> Interestingly, the “Francaise” I learned was a non-progressive contra, i.e., 
> done in proper lines but you stayed within your minor set of two couples.  
> That this dance form was also known as a Quadrille caused me to look up the 
> origin of the word “quadrille.”  Apparently it comes from the Italian name of 
> a square military formation.  I cannot explain what is “quadrille” about a 
> non-progressive proper contra, unless it refers to the 4 dancers in each 
> minor set.  (Since it is non-progressive, maybe that makes sense.)
>
> Here’s the really odd part:  there was another dance form popular among the 
> Swiss dancers, that was known as “Kontra.”  These were - I am not making this 
> up - SQUARES.
>
> Ok, my point is that it is pretty much hopeless to define very precisely what 
> a contra dance is.  I may have skipped over it, but did anyone else mention 
> whole set longways dances, like the Virginia Reel?  In my opinion, those are 
> contras, but not of the New England variety.  How about Sicilian Circles, 
> which are just contras bent around into a circle?  (And somebody please tell 
> me what is Sicilian about them!)
>
> Regarding the type of music, I have danced (and have written) contras in 
> waltz time. Having also danced Contra figures to music by Strauss, I would 
> have to opine that the type of music has little to do with the definition of 
> the dance form.  But that’s only my opinion and my whole point is that there 
> are so many opinions out there that arriving at a precise definition is 
> hopeless.
>
> Enjoy it, whatever you decide!
>
> Sent from my iPad
>
> On Jun 27, 2018, at 4:55 PM, Jeanette Mill via Callers 
>  wrote:
>
> Hi Colin
>
> Interesting question. I have similar questions looking at this from 
> Australia. I have started running workshops titled something like "Modern New 
> England Contra Dance". (This is not to alienate folk from other parts of the 
> US, but most of my exposure to contra has been in New England). Then I can 
> focus on what the elements of such a dance are, which is what makes the 
> modern contra dance scene what it is.
>
> Then there is the historical stuff, ie what led up to contra's current 
> distinctive style, without which the current dance style would not have 
> evolved. And the innovation (eg techno contra - see comments below about 
> music), without which it will stagnate. But I don't talk about this in a 
> dance workshop - this is nerdy caller stuff.
>
> Then there is the music. Is dancing to anything other than what I would call 
> contra dance music strictly contra dancing? We have related forms of music in 
> Australia which have evolved from the same roots, but have a different feel. 
> I would argue that the pure New England Contra style needs to be accompanied 
> by pure contra dance music. A reel played in Irish style can have a 
> completely different feel to the same tune played in contra style. I can hear 
> the difference but can't currently describe it in words  - something for 
> somebody's PhD I suspect. I think the package of the right dance and the 
> right 

Re: [Callers] What is a contra?

[John Rogers via Callers]

Colin, 

I realize this isn’t the kind of answer you are looking for, but I’ll muddy the 
waters a bit, and then draw a conclusion.

In the 1980s and 1990s I lived in Switzerland and was very active in 
International, Swiss, and Scottish dance groups.  (I eventually had two contra 
groups running, but that is a different story.)  The Swiss groups put on a big 
dance for New Years, and if you planned to attend, you had to practice up on a 
dance called the “Francaise.”  When I was taught the Francaise, I was 
astonished to see that most of the figures were recognizable as Contra/ Square 
figures, but given French names.  (“Right and Left Through” or “Rights and 
Lefts” was called “Chaine Anglaise” for instance.)  Researching this a bit, I 
discovered that the “Francaise” was actually short for “Contredanse Francaise.” 
 It turns out the French brought “Country Dancing” back from Britain to France, 
and called it “Contredanse Anglaise.”  This spread through Europe, becoming all 
the rage in the 1800s, with dance tunes being written by such luminaries as 
Johann Strauss.  Apparently the rest of Europe thought the dance form came from 
France, because it was known as “Contredanse Francaise” elsewhere.

Interestingly, the “Francaise” I learned was a non-progressive contra, i.e., 
done in proper lines but you stayed within your minor set of two couples.  That 
this dance form was also known as a Quadrille caused me to look up the origin 
of the word “quadrille.”  Apparently it comes from the Italian name of a square 
military formation.  I cannot explain what is “quadrille” about a 
non-progressive proper contra, unless it refers to the 4 dancers in each minor 
set.  (Since it is non-progressive, maybe that makes sense.)  

Here’s the really odd part:  there was another dance form popular among the 
Swiss dancers, that was known as “Kontra.”  These were - I am not making this 
up - SQUARES.

Ok, my point is that it is pretty much hopeless to define very precisely what a 
contra dance is.  I may have skipped over it, but did anyone else mention whole 
set longways dances, like the Virginia Reel?  In my opinion, those are contras, 
but not of the New England variety.  How about Sicilian Circles, which are just 
contras bent around into a circle?  (And somebody please tell me what is 
Sicilian about them!)

Regarding the type of music, I have danced (and have written) contras in waltz 
time. Having also danced Contra figures to music by Strauss, I would have to 
opine that the type of music has little to do with the definition of the dance 
form.  But that’s only my opinion and my whole point is that there are so many 
opinions out there that arriving at a precise definition is hopeless.

Enjoy it, whatever you decide!

Sent from my iPad

> On Jun 27, 2018, at 4:55 PM, Jeanette Mill via Callers 
>  wrote:
> 
> Hi Colin
> 
> Interesting question. I have similar questions looking at this from 
> Australia. I have started running workshops titled something like "Modern New 
> England Contra Dance". (This is not to alienate folk from other parts of the 
> US, but most of my exposure to contra has been in New England). Then I can 
> focus on what the elements of such a dance are, which is what makes the 
> modern contra dance scene what it is. 
> 
> Then there is the historical stuff, ie what led up to contra's current 
> distinctive style, without which the current dance style would not have 
> evolved. And the innovation (eg techno contra - see comments below about 
> music), without which it will stagnate. But I don't talk about this in a 
> dance workshop - this is nerdy caller stuff.
> 
> Then there is the music. Is dancing to anything other than what I would call 
> contra dance music strictly contra dancing? We have related forms of music in 
> Australia which have evolved from the same roots, but have a different feel. 
> I would argue that the pure New England Contra style needs to be accompanied 
> by pure contra dance music. A reel played in Irish style can have a 
> completely different feel to the same tune played in contra style. I can hear 
> the difference but can't currently describe it in words  - something for 
> somebody's PhD I suspect. I think the package of the right dance and the 
> right music is incredibly important. And of course, there's the innovation ie 
> techno contra.
> 
> I visit the US contra scene as often as possible, and can see and hear 
> changes in the style between visits. So it is constantly evolving. Eg on  my 
> first visit in 2003 a square was often included in what I would call "an 
> evening of contra dance" as distinct from a "contra dance" (to get around the 
> terminology of a contra dance referring to both a whole program and a single 
> dance). On my last visit I don't recall a single square being included on a 
> program. And the formations were almost exclusively duple improper and 
> becket. 
> 
> As with anything in life, as soon as we try to classify something 

Re: [Callers] What is a contra?

[Jeanette Mill via Callers]

Hi Colin
Interesting question. I have similar questions looking at this from Australia. 
I have started running workshops titled something like "Modern New England 
Contra Dance". (This is not to alienate folk from other parts of the US, but 
most of my exposure to contra has been in New England). Then I can focus on 
what the elements of such a dance are, which is what makes the modern contra 
dance scene what it is. 
Then there is the historical stuff, ie what led up to contra's current 
distinctive style, without which the current dance style would not have 
evolved. And the innovation (eg techno contra - see comments below about 
music), without which it will stagnate. But I don't talk about this in a dance 
workshop - this is nerdy caller stuff.
Then there is the music. Is dancing to anything other than what I would call 
contra dance music strictly contra dancing? We have related forms of music in 
Australia which have evolved from the same roots, but have a different feel. I 
would argue that the pure New England Contra style needs to be accompanied by 
pure contra dance music. A reel played in Irish style can have a completely 
different feel to the same tune played in contra style. I can hear the 
difference but can't currently describe it in words  - something for somebody's 
PhD I suspect. I think the package of the right dance and the right music is 
incredibly important. And of course, there's the innovation ie techno contra.
I visit the US contra scene as often as possible, and can see and hear changes 
in the style between visits. So it is constantly evolving. Eg on  my first 
visit in 2003 a square was often included in what I would call "an evening of 
contra dance" as distinct from a "contra dance" (to get around the terminology 
of a contra dance referring to both a whole program and a single dance). On my 
last visit I don't recall a single square being included on a program. And the 
formations were almost exclusively duple improper and becket. 
As with anything in life, as soon as we try to classify something (especially 
something that is evolving), the list of exceptions is usually longer than the 
list of inclusions. Ask any taxonomist :-)
Long may the discussion and debate continue!
CheersJeanette

Jeanette Mill
 
Contra dance caller, musician, workshop facilitator

Canberra, Australia

Phone: +61 (0)449 686 077
 
Email: jeanette_m...@yahoo.com.au
 
Skype: jeanette.mill
 
  
 
"The piano - 88 little mistakes waiting to happen"Kate Barnes
 
  
 

On Thursday, 28 June 2018, 5:48:01 am AEST, Colin Hume via Callers 
 wrote:  
 
 I'm in Germany, and I'm speaking for the next few days at a Conference run by 
the European Callers and Teachers Association.  
Several of my sessions are about Contras, and speaking to the Contra 
Coordinator as we drove to the hotel I realised we had very 
different ideas about what a contra is.  I say it is an American (or 
American-style) dance, longways duple or triple.  He classes 
three-couple dances (such as Ted's Triplets), four-couple dances and circles as 
contras.  He even classes my dance "Sting in the 
Tail" as a contra.  This is for two three-couple sets side-by-side and involves 
siding into line, set and turn single.  I would 
regard this quite definitely as "Playford"-style, and I think Americans would 
categorise it as English.  But what is a contra?  I 
know the hot-shots would say that it's longways duple improper or Becket with a 
partner swing and preferably a neighbor swing, but 
is that your definition?  What about an early American dance such as "The Young 
Widow" - is that a contra?  Can a dance in waltz 
time be a contra?  I think of a contra as mainly danced to reels or jigs, 
though I know there are a few to slip-jigs.  Within 
reels I would include marches and American hornpipes, which are smooth, but not 
English hornpipes which I would dance to a 
step-hop.  And not Strathspeys.  I would say contras are done to a walking 
step, apart from the swing which is often a buzz step.  
But do you agree with me?

Answers fairly quickly please!

Colin Hume

Email co...@colinhume.com      Web site http://colinhume.com
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
  ___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] What is a contra?

[Kalia Kliban via Callers]

On 6/27/2018 3:43 PM, Tom Hinds via Callers wrote:

Since you need an answer quickly i’d say it’s a term in the folk dance world 
and it’s possible that different folks will define it differently.

Personally I can see how a 4 X 4 could be a contra since it progresses in the 
same way but not other formations like squares and circles.


There's also tempest formation, Sicilian circles, zias, mixers...  But 
it does get blurry.  One local group's definition of "contra" might mean 
_only_ longways and _always_ 2 swings, whereas another's definition 
could encompass chestnut contras, triplets, scatter mixers and other such.


Kalia
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] What is a contra?

[Tom Hinds via Callers]

Since you need an answer quickly i’d say it’s a term in the folk dance world 
and it’s possible that different folks will define it differently.   

Personally I can see how a 4 X 4 could be a contra since it progresses in the 
same way but not other formations like squares and circles.

Sent from my iPad

> On Jun 27, 2018, at 4:47 PM, Colin Hume via Callers 
>  wrote:
> 
> I'm in Germany, and I'm speaking for the next few days at a Conference run by 
> the European Callers and Teachers Association.  
> Several of my sessions are about Contras, and speaking to the Contra 
> Coordinator as we drove to the hotel I realised we had very 
> different ideas about what a contra is.  I say it is an American (or 
> American-style) dance, longways duple or triple.  He classes 
> three-couple dances (such as Ted's Triplets), four-couple dances and circles 
> as contras.  He even classes my dance "Sting in the 
> Tail" as a contra.  This is for two three-couple sets side-by-side and 
> involves siding into line, set and turn single.  I would 
> regard this quite definitely as "Playford"-style, and I think Americans would 
> categorise it as English.  But what is a contra?  I 
> know the hot-shots would say that it's longways duple improper or Becket with 
> a partner swing and preferably a neighbor swing, but 
> is that your definition?  What about an early American dance such as "The 
> Young Widow" - is that a contra?  Can a dance in waltz 
> time be a contra?  I think of a contra as mainly danced to reels or jigs, 
> though I know there are a few to slip-jigs.  Within 
> reels I would include marches and American hornpipes, which are smooth, but 
> not English hornpipes which I would dance to a 
> step-hop.  And not Strathspeys.  I would say contras are done to a walking 
> step, apart from the swing which is often a buzz step.  
> But do you agree with me?
> 
> Answers fairly quickly please!
> 
> Colin Hume
> 
> Email co...@colinhume.com  Web site http://colinhume.com
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] What is a contra?

[John Sweeney via Callers]

Hi Colin,
I think there at least three definitions:

1) Average American understanding today:

>From https://en.wikipedia.org/wiki/Contra_dance

Many modern contra dances have these characteristics:
longways for as many as will
first couples improper, or Becket formation
flowing choreography
no-one stationary for more than 16 beats (e.g. First Couple Balance &
Swing, finish facing down to make Lines of Four)
containing at least one swing and normally both a partner swing and a
neighbour swing
the vast majority of the moves from a set of well-known moves that the
dancers know already
composed mostly of moves that keep you connected to the other dancers
generally danced to 32 bar jigs or reels played at between 110 and 130
bpm
danced with a smooth walk with lots of spins and twirls
An event which consists primarily (or solely) of dances in this style is
sometimes referred to as a Modern Urban Contra Dance.

2) Traditional American approach:
70 years ago an event which included squares, traditional contras (see
Cracking Chestnuts - so, yes, "Young Widow" (which I danced at a DC ECD
event last month!)) and other formations was known as a Square Dance; as
modern contra choreography developed and contras became more popular, the
same events came to be known as Contra Dances, with the mix focussing more
on contras, but still a mix.  Zesty Contras is a good example as it contains
lots of formations, including Triple Minors like Alamo Triad.

3) Historical approach:
"Contra Dance" used to just mean "Country Dance" and therefore included all
of Playford, ECD, etc:

"The term "Country Dance" is the one invariably used in all books on dancing
that have been published in England during the last three centuries, while
all works issued in France within the same period employ the term Contra
Dance, or in French "Contre Danse". As the authority is equally good in both
cases, either term is therefore correct. The Country or Contra Dance has
been one of the most popular amusements in the British Isles, France, and
other continental countries from time immemorial."
Howe, 1858

Music: Yes, for modern contras any tune will do, including waltzes, as long
as the dancers are open-minded - quite a few modern contras have been
written specifically for waltz time.  But, regardless of the type of tune,
it is the speed which defines contra - generally not slower than 105 bpm, so
an English step-hop hornpipe at 80 bpm is not part of the modern American
culture.  But still fits into definition 3 of course.

Stepping: Yes, definition 1 is walking, but with lots of spinning and
flourishes. 
https://www.youtube.com/watch?v=pZubTju7g_s is from 1965 and shows a walking
step - but I would suggest that quite a lot of it is a lighter step than is
used today.
I believe there was a greater variety of footwork in Balances 50 years ago,
now, in moves like that, the feet are used for simple percussion.

I hope that helps.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   

-Original Message-
From: Colin Hume  
Sent: 27 June 2018 21:47
To: Callers List 
Subject: [Callers] What is a contra?

I'm in Germany, and I'm speaking for the next few days at a Conference run
by the European Callers and Teachers Association.  
Several of my sessions are about Contras, and speaking to the Contra
Coordinator as we drove to the hotel I realised we had very 
different ideas about what a contra is.  I say it is an American (or
American-style) dance, longways duple or triple.  He classes 
three-couple dances (such as Ted's Triplets), four-couple dances and circles
as contras.  He even classes my dance "Sting in the 
Tail" as a contra.  This is for two three-couple sets side-by-side and
involves siding into line, set and turn single.  I would 
regard this quite definitely as "Playford"-style, and I think Americans
would categorise it as English.  But what is a contra?  I 
know the hot-shots would say that it's longways duple improper or Becket
with a partner swing and preferably a neighbor swing, but 
is that your definition?  What about an early American dance such as "The
Young Widow" - is that a contra?  Can a dance in waltz 
time be a contra?  I think of a contra as mainly danced to reels or jigs,
though I know there are a few to slip-jigs.  Within 
reels I would include marches and American hornpipes, which are smooth, but
not English hornpipes which I would dance to a 
step-hop.  And not Strathspeys.  I would say contras are done to a walking
step, apart from the swing which is often a buzz step.  
But do you agree with me?

Answers fairly quickly please!

Colin Hume

Email co...@colinhume.com  

Re: [Callers] What is a contra?

[Folk Dance via Callers]

I'd differentiate between a singular contra dance - longways sets, duple
minor (some triple minor chestnuts in special cases e.g. The Young Widow),
jigs/reels typically (except exceptions as discussed).  I would
characterise them choreographically as ideally linked figure to figure in a
continuous progression. I think (even though the etymology is spurious) I
would want to have the feeling of a contrary person as well as my partner.

A contra dance evening might well feature the other styles particularly if
it's a one-off party etc. but I would not say they are contra dances
themselves.  Similarly square dances are not contra but might make an
appearance in this context.   I'd be more inclined to include the
non-contras in an "American" night at a festival rather than at a "contra"
night.

Ted Sanella and Larry Jennings quite clearly included these styles in their
books but in seperate sections to the contras.

So yes, I think I agree with you Colin.

On Wed, Jun 27, 2018 at 8:47 PM Colin Hume via Callers <
callers@lists.sharedweight.net> wrote:

> I'm in Germany, and I'm speaking for the next few days at a Conference run
> by the European Callers and Teachers Association.
> Several of my sessions are about Contras, and speaking to the Contra
> Coordinator as we drove to the hotel I realised we had very
> different ideas about what a contra is.  I say it is an American (or
> American-style) dance, longways duple or triple.  He classes
> three-couple dances (such as Ted's Triplets), four-couple dances and
> circles as contras.  He even classes my dance "Sting in the
> Tail" as a contra.  This is for two three-couple sets side-by-side and
> involves siding into line, set and turn single.  I would
> regard this quite definitely as "Playford"-style, and I think Americans
> would categorise it as English.  But what is a contra?  I
> know the hot-shots would say that it's longways duple improper or Becket
> with a partner swing and preferably a neighbor swing, but
> is that your definition?  What about an early American dance such as "The
> Young Widow" - is that a contra?  Can a dance in waltz
> time be a contra?  I think of a contra as mainly danced to reels or jigs,
> though I know there are a few to slip-jigs.  Within
> reels I would include marches and American hornpipes, which are smooth,
> but not English hornpipes which I would dance to a
> step-hop.  And not Strathspeys.  I would say contras are done to a walking
> step, apart from the swing which is often a buzz step.
> But do you agree with me?
>
> Answers fairly quickly please!
>
> Colin Hume
>
> Email co...@colinhume.com  Web site http://colinhume.com
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] What is flowing contra? (was: Flow & Glide Contras)

[Greg McKenzie]

Thank you Aahz for the thread.

My recollection is that "flow" has been used most often to refer to a
quality of the dance that makes it more intuitive for learners because the
figures leave the dancer in a position where the next figure is obvious or
natural.  This is exemplified in the statement: "Because of good flow this
dance is easier to learn than the piece count might indicate."

Of course, "flow" can also be a quality the dancers add to the dance.  Some
dances are written with a particularly *awkward *"flow" but a clever
embellishment can make them flow extremely well.  Such dances however may
not be appropriate for a mixed crowd with lots of first-timers.

- Greg McKenzie
West Coast, USA


On Wed, Feb 5, 2014 at 8:32 AM, Aahz Maruch  wrote:

> On Wed, Feb 05, 2014, John Sweeney wrote:
> >
> > I am planning some workshops, for festivals here in the UK, with the
> title
> > "Flow & Glide Contras: Dances with beautiful flow, connectivity and a
> > smooth, satisfying glide."  (Thanks to Sarah VanNorstrand and no doubt
> many
> > others for the title!)
>
> There's some risk of hijacking this thread, so I've changed the Subject:
> line.
>
> I wrote this contra with the intent of being flowing, and I'm curious
> what other people think -- if you think it's not flowing, please try to
> explain why:
>
> Panix Dot Chat (a...@pobox.com)
>
> Becket formation
> Double-progression, better with odd number of couples
>
> A1  Right-and-left thru on left diagonal (8)
> (Yes, start with progression)
> (Warn ends about not moving)
> Right-and-left thru new couple (8)
> A2  Circle left 3/4 (8)
> Swing neighbor (8)
> B1  Pass through (4)
> California twirl (4)
> Men left-hand turn once-and-half (8)
> B2  Balance and swing partner (16)
> --
> Hugs and backrubs -- I break Rule 6
> http://rule6.info/
>   <*>   <*>   <*>
> Help a hearing-impaired person: http://rule6.info/hearing.html
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] What is flowing contra? (was: Flow & Glide Contras)

[Aahz Maruch]

On Wed, Feb 05, 2014, John Sweeney wrote:
> 
> I am planning some workshops, for festivals here in the UK, with the title
> "Flow & Glide Contras: Dances with beautiful flow, connectivity and a
> smooth, satisfying glide."  (Thanks to Sarah VanNorstrand and no doubt many
> others for the title!)

There's some risk of hijacking this thread, so I've changed the Subject:
line.

I wrote this contra with the intent of being flowing, and I'm curious
what other people think -- if you think it's not flowing, please try to
explain why:

Panix Dot Chat (a...@pobox.com)

Becket formation
Double-progression, better with odd number of couples

A1  Right-and-left thru on left diagonal (8)
(Yes, start with progression)
(Warn ends about not moving)
Right-and-left thru new couple (8)
A2  Circle left 3/4 (8)
Swing neighbor (8)
B1  Pass through (4)
California twirl (4)
Men left-hand turn once-and-half (8)
B2  Balance and swing partner (16)
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

Re: [Callers] What made you contra addicted?

[George Mercer]

I usually simply say "it's aerobic, it's social, and I usually love the
music.  Thanks, George Mercer


On Tue, Sep 24, 2013 at 4:09 PM, Mary Collins  wrote:

> replying off list 'cause I can't get to there from here (work) sorry,
>
> addicted yes, I am.  I have bilateral hip replacements and even when I
> could not walk (pre-surgery) I could dance.  the music and the rhythm of
> the dance(walk) made it possible for me to move and exercise.  It also
> gives me the same "runner's high" that I got when I used to jog (years
> ago).  I've been one of the key coordinators for our local dance for over
> 10 years, just so I can be sure it will be here while I still need to
> dance.  Selfish I know, but what better motivator?  I agree with another
> post that says, smiling.  I've rarely met anyone in the line that is not
> smiling.  I smile whilst dancing as well.
>
> I also like the rhythm of the music and the moves, esp. the balance.  The
> cadence of the steps and the notes matching appeals to my sense of order.
> I am also a fan of flourishes, as long as they are consensual and ON TIME.
> I'm a bit of a dance snob about that.
>
> good luck with your event and all.
>
> Mary Collins
> QCCD.org
>
>
> On Mon, Sep 23, 2013 at 6:12 AM, Jeanette Mill
> wrote:
>
> > Hi
> >
> > I am designing workshop for a dance weekend here in Australia and would
> > like to crowd source some inspiration:
> >
> > Simply answer the question - what made you addicted to contra?
> >
> > Looking forward to your answers
> >
> > Cheers
> > Jeanette
> >
> > "The piano - 88 little mistakes waiting to happen." Peter Barnes.
> > ___
> > Callers mailing list
> > call...@sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
> >
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] What made you contra addicted?

[Mary Collins]

replying off list 'cause I can't get to there from here (work) sorry,

addicted yes, I am.  I have bilateral hip replacements and even when I
could not walk (pre-surgery) I could dance.  the music and the rhythm of
the dance(walk) made it possible for me to move and exercise.  It also
gives me the same "runner's high" that I got when I used to jog (years
ago).  I've been one of the key coordinators for our local dance for over
10 years, just so I can be sure it will be here while I still need to
dance.  Selfish I know, but what better motivator?  I agree with another
post that says, smiling.  I've rarely met anyone in the line that is not
smiling.  I smile whilst dancing as well.

I also like the rhythm of the music and the moves, esp. the balance.  The
cadence of the steps and the notes matching appeals to my sense of order.
I am also a fan of flourishes, as long as they are consensual and ON TIME.
I'm a bit of a dance snob about that.

good luck with your event and all.

Mary Collins
QCCD.org


On Mon, Sep 23, 2013 at 6:12 AM, Jeanette Mill
wrote:

> Hi
>
> I am designing workshop for a dance weekend here in Australia and would
> like to crowd source some inspiration:
>
> Simply answer the question - what made you addicted to contra?
>
> Looking forward to your answers
>
> Cheers
> Jeanette
>
> "The piano - 88 little mistakes waiting to happen." Peter Barnes.
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] What made you contra addicted?

[Aahz Maruch]

On Mon, Sep 23, 2013, Mark Stowe wrote:
>
> Research suggests that we humans are happiest when we are succeeding at
> something that we can just barely accomplish.  

There may be some truth to that, but it certainly isn't true for my
relationship with contra dancing and square dancing.  I'm far more
accomplished at contra than square due to my hearing, which was the
whole point of my earlier "dance trance" comment; I suppose it might be
argued that I'm in fact not accomplished at square dancing, but I doubt
many people would make that claim.

(In case it's not clear, I'm much happier after a contra dance than a
square dance -- I'm physically exhausted after contra but mentally and
often emotionally exhausted after squares.)
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

Re: [Callers] What made you contra addicted?

[Ron Blechner]

Social circle of dancers extending past dance time, after dance hangouts,
making friends.
On Sep 23, 2013 6:07 PM, "Mark Stowe"  wrote:

> Research suggests that we humans are happiest when we are succeeding at
> something that we can just barely accomplish.  I have been contradancing
> for 38 years and I keep inventing and learning new flourishes, dips/ swing
> move interjections, putting in extra spins, running between lines and
> conspiring with fellow dancers to alter order and gender and create new
> interactions with defacto trail buddies that 'weren't in the dance'.  The
> only limit to challenging yourself is not straying into being late and
> staying within the bounds of what your particular fellow dancer will enjoy
> which means that there is constant strategic intellectual exercise as well.
>  The happiness of contradancers is infective and the inclusiveness is
> inspiring.
>
> As a biologist I believe (with all due modesty and suspicion of teleology)
> that life evolved for  ~4 billion years on earth precisely so that there
> could be contradancing :).
>
>
> On Mon, Sep 23, 2013 at 4:51 PM, Sam Whited  wrote:
>
> > On 09/23/2013 06:12 AM, Jeanette Mill wrote:
> > > Simply answer the question - what made you addicted to contra?
> >
> > When I first started, it was probably the fact that I couldn't stop
> > smiling the entire time I was dancing (or for several hours afterwards).
> > I was terrible, kept breaking the line, didn't understand half the
> > caller's instructions, etc. but I still couldn't stop smiling.
> >
> > It might also be the fact that I `just got' the swing (even if I didn't
> > get most of the other moves). People asked me how long I'd been dancing,
> > and told me what a great swing I had even though I'd never actually been
> > to a dance before; it was nice to know that contra was actually simple
> > enough that all I had to do was walk around someone and they'd think I
> > was relatively good at it unlike, say, Swing dancing (my other favorite
> > form of dance) which took me days and days to even get the basic down.
> > I've seen this in a lot of other new dancers since then; I ask them how
> > long they've been dancing only to find that this is their first time and
> > they `just get' what I now know as the concept of `giving weight'.
> >
> > After I had danced for a while and branched out into other kinds of
> > dancing, I realized that I also liked contra because no one takes it too
> > seriously (well, a few people I know do, but I make a point of not
> > dancing with them). You can cock about, experiment, break half the line,
> > or just make something up and as long as you can run back and swing your
> > partner when the caller says too it will all be okay and you'll have a
> > good time (I know a lot of people will disagree with that one; but it's
> > one of the things that makes me love contra, so there you are).
> >
> > I also love the fact that you sweat a lot. I tried ECD a couple of
> > times, and while I enjoyed the people, and thought a lot of the dances
> > were really interesting, I couldn't help but wonder why I'd want to do
> > something that didn't leave me sweaty and breathless afterwards. Lots of
> > people I know love that sort of thing, but it wasn't for me. It felt too
> > `delicate' (there are also lots of other issues that made me not
> > especially love ECD, but they're rather offtopic).
> >
> > Contra is like driving a Pagani Zonda that's thinking of new and
> > interesting ways of killing you every 5 seconds, and some other forms of
> > dance are like driving an old VW Bug: they don't go above 50 MPH, have
> > the engine on the wrong end of the car, and were conceived by Hitler
> > (that analogy made more sense in my head before I started typing it
> > out...).
> >
> > —Sam
> >
> > --
> > Sam Whited
> > pub 4096R/EC2C9934
> > https://samwhited.com/contact
> > ___
> > Callers mailing list
> > call...@sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
> >
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] What made you contra addicted?

[Mark Stowe]

Research suggests that we humans are happiest when we are succeeding at
something that we can just barely accomplish.  I have been contradancing
for 38 years and I keep inventing and learning new flourishes, dips/ swing
move interjections, putting in extra spins, running between lines and
conspiring with fellow dancers to alter order and gender and create new
interactions with defacto trail buddies that 'weren't in the dance'.  The
only limit to challenging yourself is not straying into being late and
staying within the bounds of what your particular fellow dancer will enjoy
which means that there is constant strategic intellectual exercise as well.
 The happiness of contradancers is infective and the inclusiveness is
inspiring.

As a biologist I believe (with all due modesty and suspicion of teleology)
that life evolved for  ~4 billion years on earth precisely so that there
could be contradancing :).


On Mon, Sep 23, 2013 at 4:51 PM, Sam Whited  wrote:

> On 09/23/2013 06:12 AM, Jeanette Mill wrote:
> > Simply answer the question - what made you addicted to contra?
>
> When I first started, it was probably the fact that I couldn't stop
> smiling the entire time I was dancing (or for several hours afterwards).
> I was terrible, kept breaking the line, didn't understand half the
> caller's instructions, etc. but I still couldn't stop smiling.
>
> It might also be the fact that I `just got' the swing (even if I didn't
> get most of the other moves). People asked me how long I'd been dancing,
> and told me what a great swing I had even though I'd never actually been
> to a dance before; it was nice to know that contra was actually simple
> enough that all I had to do was walk around someone and they'd think I
> was relatively good at it unlike, say, Swing dancing (my other favorite
> form of dance) which took me days and days to even get the basic down.
> I've seen this in a lot of other new dancers since then; I ask them how
> long they've been dancing only to find that this is their first time and
> they `just get' what I now know as the concept of `giving weight'.
>
> After I had danced for a while and branched out into other kinds of
> dancing, I realized that I also liked contra because no one takes it too
> seriously (well, a few people I know do, but I make a point of not
> dancing with them). You can cock about, experiment, break half the line,
> or just make something up and as long as you can run back and swing your
> partner when the caller says too it will all be okay and you'll have a
> good time (I know a lot of people will disagree with that one; but it's
> one of the things that makes me love contra, so there you are).
>
> I also love the fact that you sweat a lot. I tried ECD a couple of
> times, and while I enjoyed the people, and thought a lot of the dances
> were really interesting, I couldn't help but wonder why I'd want to do
> something that didn't leave me sweaty and breathless afterwards. Lots of
> people I know love that sort of thing, but it wasn't for me. It felt too
> `delicate' (there are also lots of other issues that made me not
> especially love ECD, but they're rather offtopic).
>
> Contra is like driving a Pagani Zonda that's thinking of new and
> interesting ways of killing you every 5 seconds, and some other forms of
> dance are like driving an old VW Bug: they don't go above 50 MPH, have
> the engine on the wrong end of the car, and were conceived by Hitler
> (that analogy made more sense in my head before I started typing it
> out...).
>
> —Sam
>
> --
> Sam Whited
> pub 4096R/EC2C9934
> https://samwhited.com/contact
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] What made you contra addicted?

[Greg McKenzie]

Jeanette asked:

> I am designing workshop for a dance weekend here in Australia and would
> like to crowd source some inspiration:
>
> Simply answer the question - what made you addicted to contra?
>

Interesting.  I am not all that sure what you mean by "addicted."  Here in
the USA that word has negative connotations for many people.

Well, I think of a "contra dance enthusiast" as someone who attended six or
more contra dance events within the last year.  I fit that description.
But what is a contra "addict?"  What comes to mind is the image of someone
who not only attends regular contra dances, but who also attends workshops,
camps, festivals, or special events--particularly someone who pays air
fares or drives for many hours to attend such events.  (A pathological
interpretation might mean someone who cannot control their urge to dance
contras?  Or someone who's job or family life is becoming dysfunctional
because of their addiction?  But I assume you do not mean that.)

I, personally, don't attend weekends, workshops, or special events.  (I may
be an exception on this list in that respect.)  I did those kind of events
for about the first ten years of dancing but I have been "clean" now for
over a decade.  So I'm not sure I would qualify to answer your question.

I suspect there are folks on this list who do not dance contras that
often.  Some favor squares, English Country dancing, or some other dance
form.

Who is the audience for your workshop?  Are they, themselves, "addicts?"

Just wondering.

Greg McKenzie

West Coast, USA

Re: [Callers] What made you contra addicted?

[Aahz Maruch]

On Mon, Sep 23, 2013, Jeanette Mill wrote:
> 
> I am designing workshop for a dance weekend here in Australia and
> would like to crowd source some inspiration:
>
> Simply answer the question - what made you addicted to contra?

"I'm not addicted, I can stop any time I want to.  I just don't want to."

More seriously, I have been doing contra, square, and folk dancing for
over a quarter-century.  For about fifteen years, I have primarily
identified as a contra dancer, mainly because I like the energy and can
"dance trance" for an extended period of time.  (Most folk dances are
shorter than contras; square dancing requires too much hearing
concentration to dance trance.)

I also like the room for flourishes (count me among the "contra cutups").
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html