new figures in contra dancing
Gene Hubert
after hearing a lot about it for a long time. I finally started
working at a place with internet access. (The previous sentence
would be equally valid if it were ended after the first four
words.) It's great to see a lot of familiar names in just the
first week and a half.
I'm very interested in where contra and square dancing has been and
where it is going. Most of my experience is in the traditional/
revivalist dance scene. Unless otherwise noted, my comments pertain
to the traditional/revivalist contra and square dance scene. However,
I do find the club square and contra dance scene most intriguing.
I use the term "club square dancing" instead of MWSD (presumably
standing for modern western square dancing). I find "club square
dancing" or more simple and generally "club dancing", to be
descriptive and distinctive and avoids yet another ugly
acronym (YAUA). I have found that keeping an eye on what is
happening in the club dance scene has been very valuable.
Of course I was most interested in Gary Shapiro's use of a
flutterwheel in a contra dance and his wondering if it was a step
down a slippery slope.
Personally, I don't worry too much about the slippery slope problem.
The big reason is that virtually all of our dances are open to the
public. A goodly percentage of dancers are either relatively new or
only dance a few times a year. This effectively limits a caller
to a fairly small set of figures that s/he can expect the dancers to
know and execute.
Unless a caller is willing to work really hard at teaching and/or
is willing to tolerate a high level of chaos on the floor, s/he is
going to stick pretty close to the basics. If you're a travelling
caller, you'll likely want to be invited back and will often have
only one chance to please the customers. Sticking with material
that dances well is more likely to make this happen.
It seems worth mentioning that it is fairly easy to cause enormous
chaos in the contra hall with strange and disorienting dances
comprised entirely of traditional figures. (I've been doing it for
years.?!)
Compared to what happened in the club dance scene from about 1955-
1975, the evolution of traditional contras and squares has been
quite slow. However, compared to what happened in the traditional
contra scene prior to about 1975, the last 20 years has seen an
astonishing rate of change.
Here is a list of figures that have more or less "made it" into
the traditional dance scene since about 1975. Even though I say
these figures have "made it", a caller must still be prepared to
do some extra teaching for most of these.
box the gnat (and swat the flea) | 1950's or earlier
cross trail thru |
rollaway with a half sashay | "quasi traditional"
california twirl |
square thru | more acceptable?
star thru | 60's square
veer left (also known as slide left or shift left) | dancing
pass the ocean (and pass the sea) | not traditional
hey | as old as the hills
gypsy |
half figure eight | from English country dance
This works out to be approximately one new figure every two years.
The first two groups above are basically square dance figures, with
the last being imports from English country dance. { Note to Nancy M.
Is it any greater evil to call a contra with a gypsy that one with a
hey or half figure eight? }
The square dance figures are quickies in terms of timing. They're
at their best when danced to the beat in southern or club squares.
Most require some coercion to fit into the expected timing rules
of contras (4 counts) and lose some of their punch. Trying to do
them in two counts is an invitation to a rat race. So the choice is
to relax some of the timing rules of settle for these figures to be
a bit clunky.
The English country dance figures score high on timing, but are
completely unconnected figures. This runs counter to a very basic
quality of contra dancing. For me the worst case scenario is a
gypsy once and a half in eight counts. This action just screams
in agony for lack on connection.
Of course the new figures added are only part of the story of modern
developments in contra dancing. The fractionation of figures
(especially circle left) and increased use of becket dances have
been major players as well.
I would like to say that within the traditional dance scene, contras
have better adapted to the needs of today's dancers that squares.
I feel this accounts for much of the strong preference for contras
over squares in many areas. I see a possibility that traditional
squares and club squares may be moving closer together in the next
5-10 years.
In summary, contra dancing is picking up new figures much faster
than in the past, but still at a sane and reasonable rate. As long
as we have open dances, I see no imminent danger of ruin and
destruction due to a proliferation of new figures. I don't see
any problem with occasionally experimenting with a new figure
from any source you please.
Gene Hubert 5-19-95 a.m.
*** may you have calm seas and a posthumous journey *** (gwh '95)
Nancy Mamlin
Gene Hubert <ghu...@acpub.duke.edu> wrote:
>First I want to say that I'm glad to be here in rec.folk-dancing
>after hearing a lot about it for a long time. I finally started
>working at a place with internet access. (The previous sentence
>would be equally valid if it were ended after the first four
>words.) It's great to see a lot of familiar names in just the
>first week and a half.
Great to see you here, too, Gene! Happy too, that you have re-joined the
Tarheel State. (though how does it look, you following me around like
that?:) And while on the subject of work, r.f-d has probably noticed a
lack of posting from me lately- I have been writing the dissertation.
First draft is now in and I have some down time. For two days. (And I,
too will be *working* <as in a job> this coming August! About time. My
cats will be very happy that their feeding schedule no longer depends on
my gig schedule. (I call- they eat)
On to the post at hand....
>Of course I was most interested in Gary Shapiro's use of a
>flutterwheel in a contra dance and his wondering if it was a step
>down a slippery slope.
>
>Personally, I don't worry too much about the slippery slope problem.
I've noticed. On my dividers for my calling cards I have the usual
descriptions, plus one divider that says "gene" and one that says "ron".
The slippery slope guys.... :)
<snip>>
>The first two groups above are basically square dance figures, with
>the last being imports from English country dance. { Note to Nancy M.
>Is it any greater evil to call a contra with a gypsy that one with a
>hey or half figure eight? }
It is not *evil* persay to call any figure. Or to put figures together
from different traditions. We're Americans, after all... That has naught
to do with not calling gypsies. I don't call figures I don't like to do.
I don't call square (or other dances) where clapping of hands (a la
patty-cake) is involved, either. There's still plenty to choose from, and
there are plenty of callers who will call what I don't.
>The English country dance figures score high on timing, but are
>completely unconnected figures. This runs counter to a very basic
>quality of contra dancing. For me the worst case scenario is a
>gypsy once and a half in eight counts. This action just screams
>in agony for lack on connection.
Not only does the action scream in agony, I do, too if it's called!
>I would like to say that within the traditional dance scene, contras
>have better adapted to the needs of today's dancers that squares.
In what way do today's dancers have differing needs from yesterday's dancers?
>I feel this accounts for much of the strong preference for contras
>over squares in many areas. I see a possibility that traditional
>squares and club squares may be moving closer together in the next
>5-10 years.
Yes, we may be moving together- huddled close in fear and trembling for
the contra onslaught in all our neighborhoods....
Or not.
Hey! (contra term and southern greeting) I like contras, too. Almost as
much fun as discussing them with Gene. And if you pay close attention,
you might catch me calling an evening of *all contras* in the next six
months or so.... the astute will figure it out. (given the right dance
schedule)
Nancy Mamlin
PS a bumper sticker I saw yesterday: "*Real* musicians have _day_ jobs!"
I guess I'm a *real* musician starting in August!
watch this space for a new email address.....
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Tony Parkes
(Welcome, Gene!)
: I'm very interested in where contra and square dancing has been and
: where it is going.
Me too...I'd call it my hobby, but I think a hobby should be totally
unrelated to one's work.
: The square dance figures are quickies in terms of timing. They're
: at their best when danced to the beat in southern or club squares.
: Most require some coercion to fit into the expected timing rules
: of contras (4 counts) and lose some of their punch. Trying to do
: them in two counts is an invitation to a rat race. So the choice is
: to relax some of the timing rules of settle for these figures to be
: a bit clunky.
Just about the time I got deeply involved in calling (late 1960s),
the normal timing in New England style was changing from two 8-count
hand turns (each once around, e.g. allemande left corner, allemande
right partner in a square) to three 5-and-one-third-count hand turns
in one 16-count phrase of music. Ted Sannella, long a voice of
thoughtful conservatism, gave the change momentum with his stamp of
approval. Nowadays hardly anyone thinks twice about doing three
turns in one phrase, with the second turn crossing over the subtle
but real line between the 8-count subphrases.
We may yet see a day when a combination like "star thru, pass thru,
star thru" in an 8-count phrase is generally accepted in traditional/
revivalist contra dancing, with the (2-count) pass thru crossing over
the very subtle but real line between the 4-count subphrases.
: The English country dance figures score high on timing, but are
: completely unconnected figures. This runs counter to a very basic
: quality of contra dancing. For me the worst case scenario is a
: gypsy once and a half in eight counts. This action just screams
: in agony for lack on connection.
As the author of a contra (The Great Escape) that begins with such a
gypsy, I would argue that a gypsy is indeed a connected figure; the
connection is simply with the eyes rather than the hands. Of course,
I realize that eyes-without-hands is much less common in American
contra style than in English historical style, though it does appear
at times: think of "down the outside" in Chorus Jig danced by partners
who know how to flirt with one another, or the pre-1965 version of
Petronella (admittedly out of fashion, but fun for all that) with
the actives gazing up a storm in the middle for 32 counts.
I'm actually not overly fond of gypsies in contras, and use them
sparingly. One reason is that I enjoy calling contras in rhythm,
as if they were patter squares (a style at least as old as the 1940s,
when Ralph Page was in his prime), and "gypsy" doesn't seem to scan
well.
: I would like to say that within the traditional dance scene, contras
: have better adapted to the needs of today's dancers that squares.
: I feel this accounts for much of the strong preference for contras
: over squares in many areas. I see a possibility that traditional
: squares and club squares may be moving closer together in the next
: 5-10 years.
Modern (post-1950) New England squares, which many people refer to as
"traditional," have always been closer to club squares than either
community has been willing to admit. Most of the trad/revival callers
of squares I've heard lately are using a lot of material from the
early club movement of the 1940s and early '50s; I suspect many, like
me, have been doing it all along.
: In summary, contra dancing is picking up new figures much faster
: than in the past, but still at a sane and reasonable rate. As long
: as we have open dances, I see no imminent danger of ruin and
: destruction due to a proliferation of new figures. I don't see
: any problem with occasionally experimenting with a new figure
: from any source you please.
I agree, and I couldn't have said it better.
Tony Parkes