Uncontra repertory
The Martins
non-contra dances that work well at a contra dance. Maybe some of you
would like to contribute to a repertoire thread that we all could mine for
good old dances. I'll be glad to cast the first stone. Here is a dance
that I use a lot for people of mixed dancing experience. I know I got it
from one of Dudley Laufman's little pamphlets but I can't find it now and
I don't have a name for it. Its works really, really well after or in
between contras when you want to give people a mental break but keep the
energy level up:
Longways set of 5-7 or so couples, improper or proper don't make no
nevermind.
One line leads up the hall, down behind the other line and back around to
home place. The other line then does the same. Long lines go up and back
twice(I try to time that call just as the second line approaches home.
Better to catch them a step early to keep things moving.) Do-si-do
partners and then clap hands with partners (Your own together, partner
right, your own, partner left, your own, both hands with partner, your own
and again both hands with partner.) All join both hands with partners,
raise up to make a tunnel and top couple tunnels through to the bottom.
Forget phrasing during the lead arounds, but you can get them back on a
measure at the long lines up and back.
Bill Martin
--
Jacqueline Laufman
CAR. It was in the back of my book of poems A DANCING MASTER'S DIARY. The
original goes gents line, or line # 1, dances around in back of the other
line. Then the other line goes around. All swing partners. Clap hands,
1-2-3, 1-2-3, and top couple down to bottom and stay. We always use the
name chune, a jig on A. But any music will do. We usually do it on the
phrase, but unphrased is fine. The Jig Low Backed Car is AABC. At the
beginning of the C part, there is a definite place where the music suggests
clapping 1-2-3- etc.
There is another dance we do from Quebec that starts off in a similar way,
named La Plongeuse. Great dance and unphrased so you can use some of those
wonderful irregular French musics. It is in our book BRANDY. Cheers, Dudley
Laufman, Canterbury, NH
The Martins
: non-contra dances that work well at a contra dance. Maybe some of you
: would like to contribute to a repertoire thread that we all could mine for
: good old dances.
The deafening silence herein leads me to believe that most of the contra
dance callers who use this newsgroup do all contras at their dance events.
Could that be possible? If that is so, its a darn shame; a loss for
American folklife as well as the contra dance community. But I don't
believe its so, at any rate not around here. I'll prime the pump again and
see what comes up:
"Stocaire" - A mixer for the band and the dancers. A circle of couples,
all facing in, with extra people in the center. If there are more men at
the dance, I make them be the extras. Or, if women are in abundance, they
get to be the extras.
1. The music starts, all go in to the center and back, teasing the
leftovers.
2. All swing partners, finishing, if extras are women, with gents on the
inside facing CCW and ladies outside facing CW - two concentric rings. (If
men are the extras, finish the swing with gents on the outside, ladies in,
and adjust the calls accordingly.
3. Leave partners and all promenade single file.
4. At the call "Gents to the outside, ladies in!" the promenaders all loop
around to the right, causing the rings to pass through each other and
reverse direction. Now the gents are promenading single CW on the outside
and ladies CCW on the inside. During this part of the promenade the extra
ladies in the center join the women's line.
5. At some point the caller or the band leader stops the music at some
crazy, unpredictable, always varying spot and all grab a new partner. The
leftovers crowd in to the middle and the dance begins again when the
circle reforms and the band starts playing.
I like to let the musicians take over the stop and the restart. I tell
them to give people about 5 or 6 seconds to get organized and then cue
them with four potatoes. It really is a lot of fun for band and dancers
alike.
Now, I think I posted this dance a couple of years ago, so, if you want
something fresh you'd better start posting yourself! (Well, don't post
yourself, but do post a dance.)
Bill Martin
Elissa
>"Stocaire" - A mixer for the band and the dancers.
Cute!
> A circle of couples,
>all facing in, with extra people in the center. If there are more men at
>the dance, I make them be the extras. Or, if women are in abundance, they
>get to be the extras.
>
>1. The music starts, all go in to the center and back, teasing the
>leftovers.
>
>2. All swing partners, finishing, if extras are women, with gents on the
>inside facing CCW and ladies outside facing CW - two concentric rings. (If
>men are the extras, finish the swing with gents on the outside, ladies in,
>and adjust the calls accordingly.
>
>3. Leave partners and all promenade single file.
>
>4. At the call "Gents to the outside, ladies in!" the promenaders all loop
>around to the right, causing the rings to pass through each other and
>reverse direction. Now the gents are promenading single CW on the outside
>and ladies CCW on the inside. During this part of the promenade the extra
>ladies in the center join the women's line.
>
>5. At some point the caller or the band leader stops the music at some
>crazy, unpredictable, always varying spot and all grab a new partner. The
>leftovers crowd in to the middle and the dance begins again when the
>circle reforms and the band starts playing.
>
>I like to let the musicians take over the stop and the restart. I tell
>them to give people about 5 or 6 seconds to get organized and then cue
>them with four potatoes. It really is a lot of fun for band and dancers
>alike.
This looks perfect for a party where people don't know how to dance.
I could also imagine using it with children, and letting them swing
with two crossed hands (and not even mentioning the gender issue).
Do you ever add extra figures, or is it always
center-and-back-swing-promenade-reverse-mix-repeat? How many
beats for the swing? (8 beats works in my imagination.)
Are there any tunes that you particularly like to use with this dance?
Do you think that community dances that draw people of all ages use
more dances of this sort than big urban dances that draw more of a
homogeneous crowd?
Elissa Weiss
NYC
Bob Stein
<mar...@user2.teleport.com> wrote:
}The deafening silence herein leads me to believe that most of the contra
}dance callers who use this newsgroup do all contras at their dance events.
}Could that be possible? If that is so, its a darn shame; a loss for
}American folklife as well as the contra dance community. But I don't
}believe its so, at any rate not around here. I'll prime the pump again and
}see what comes up:
Unfortunately, this seems to be the case.
When I first started doing contra dancing in the Philadelphia, PA area
(about 20 years ago), an evening consisted of:
1. Contra dances
2. At least two squares, sometimes as many as four. These were a mix
between singing squares, Southern squares, and sometimes even
French-Canadian quadrilles, depending on the caller's
interest/expertise.
3. A Sicilian Circle dance or some other mixer, perhaps one each "half"
(meaning each segment of the evening either side of the break)
4. Couple dances, such as the schottische and/or the polka (Norwegian,
Polish, etc.)
5. Two waltzes (one at the end of the break and one at the end of the
evening.)
6. The hambo became popular around 1980 or so.
Now, our evenings consist of:
1. Contras
2. At the end of each half, a waltz.
3. Sometimes a square. This is not consistent from week to week.
4. A hambo, but not every week.
Notice the "paucity of variety" that has developed here.
Why is this? Here is my speculation. I don't know how factual this
is, but here goes:
1. The lack of skilled square dance callers. To call a square dance
takes more attentiveness to what's going on from minute-to-minute, as
well as an exquisite sense of timing and attention to the music. So...
a less-than-skilled caller will provide a mediocre-to-poor experience
for the dancers. They will then dislike the squares, and hence, will
demand less of them.
2. The preference of the attendees. As the contra dance "craze" has
experienced several peaks over the past 20 years, people want more
contras. The callers endeavor to provide this for them. Being that
most dances run 3 hours (usually 8--11 PM, varying by locale), the
amount of time then becomes limited for other dance styles, given what
the callers are trying to provide.
3. The expressions of a vocal minority of dancers who detest squares.
Their voices often are heard over the preferences of others, because
they tend to be: 1) more experienced dancers; 2) attend more dance
camps and events, and are well known, thus gaining status withing the
community; 3) able to gain the ears of community organizers and
national callers more readily because of one and two above.
4. Since the older (read: squares, circles, mixers, schottisches,
polkas) dances are not being taught, and have not been taught or done
over the past 10 years or so (my time frame!), people don't know them
or have the opportunity to learn them.
5. The demise of the big Southern square dances that were more
prevalent in the late 70's and early 80's. (this may pertain more to
Northeastern cities than it does in other areas of the country).
People in these areas have less opportunity to experience good square
dance calling.
I'm sure there are other reasons, and I certainly admit to being off
the mark here. But this is what I have observed at our local dance
over the past 20 years.
-Bob S
--
Bob Stein, squeeze at voicenet dot com (Reply by using this e-mail address in
proper form)
Nancy Mamlin
Bob Stein <sque...@voicenet.com> wrote in message
news:251019991115521983%sque...@voicenet.com...
> In article <JPRQ3.3838$C7.1...@news1.teleport.com>, The Martins
> <mar...@user2.teleport.com> wrote:
>
> }The deafening silence herein leads me to believe that most of the contra
> }dance callers who use this newsgroup do all contras at their dance
events.
> }Could that be possible? If that is so, its a darn shame; a loss for
> }American folklife as well as the contra dance community. But I don't
> }believe its so, at any rate not around here. I'll prime the pump again
and
> }see what comes up:
First of all, I didn't respond to the thread since I didn't think I did
anything spectacularly different than what you might already know. Now, I'm
not so sure. I call contras so that I can get gigs and do what I really
like, which is call squares. I also have a few sicilian circles,
four-facing-four contras, waltz mixers, and other assorted geometric shapes.
Of course, in the "square" category, I include mountain squares, done in a
big circle with smaller circles of four doing the figures.
>
> Unfortunately, this seems to be the case.
>
> When I first started doing contra dancing in the Philadelphia, PA area
> (about 20 years ago), an evening consisted of:
>
> 1. Contra dances
> 2. At least two squares, sometimes as many as four. These were a mix
> between singing squares, Southern squares, and sometimes even
> French-Canadian quadrilles, depending on the caller's
> interest/expertise.
> 3. A Sicilian Circle dance or some other mixer, perhaps one each "half"
> (meaning each segment of the evening either side of the break)
> 4. Couple dances, such as the schottische and/or the polka (Norwegian,
> Polish, etc.)
> 5. Two waltzes (one at the end of the break and one at the end of the
> evening.)
> 6. The hambo became popular around 1980 or so.
Six hours west, in Pittsburgh, it was much the same, except that there were
more squares, with perhaps two contras, sometimes four, in an evening. Of
course, this all depended on who was calling.
> Now, our evenings consist of:
>
> 1. Contras
> 2. At the end of each half, a waltz.
> 3. Sometimes a square. This is not consistent from week to week.
> 4. A hambo, but not every week.
I don't attend dances anymore unless I'm calling or playing, so it's hard
for me to tell what's "usually" done. But it sounds right, especially given
crowd response when I come to call.
Here's a typical evening I call:
First half: Circle mixer, 2 contras, square, contra, 2 squares, contra,
waltz
Second half: (depending on time available): Big set dance, contra, 2
squares, 2 contras, square, 2 contras, waltz.
If something is dropped in the second half, it's usually one of the squares,
probably in that first slot. Next choice would be a contra to drop. In the
real "contra-crazy crowds", especially those who have never heard me before,
I may call as few as three- four squares.
> Why is this? Here is my speculation. I don't know how factual this
> is, but here goes:
>
> 1. The lack of skilled square dance callers.
This is true. It is _way_ easier to call a contra dance than a square dance.
Teaching is another matter altogether, but I have seen bad teachers still be
able to get enough of the dance across that if the crowd was experienced,
the dance would still work and be fun. When those same folks try a square
then the cycle you mention takes hold-- people believe they don't like
squares.
I can't tell you how many people have come up to me at dances, believing
that they were complimentary, and say to me, "I hate squares, but yours are
fun!" I think it's because I know what I'm doing, and I do what I know.
> 3. The expressions of a vocal minority of dancers who detest squares.
I, and other square dance callers I have spoken to who are in the same boat
I'm in, have pretty much decided that these are people that we can safely
ignore. One caller and I were talking about this recently, in fact. Like me,
when this caller was just starting out, such comments were devestating to us
(perhaps that's why callers don't want to develop this skill?). But, we were
committed to the dance form, committed to old-time music, and forgred ahead.
We now realize that there will always be people that don't like what we do,
but there are honestly more that like it. I have decided that I will quit
calling squares when I go to a dance, say "square your sets", and no one
comes out on the floor. Till then, I believe we are talking about a
minority.
> 4. Since the older (read: squares, circles, mixers, schottisches,
> polkas) dances are not being taught, and have not been taught or done
> over the past 10 years or so (my time frame!), people don't know them
> or have the opportunity to learn them.
Amen! I can call rather complex contras without a hitch, but there are very
few places where I can call my more complex, and more fun imo, squares! Even
at dance weekends, the ability of the dancers is just not there, which I
think means it's an issue of practice.
> 5. The demise of the big Southern square dances that were more
> prevalent in the late 70's and early 80's. (this may pertain more to
> Northeastern cities than it does in other areas of the country).
> People in these areas have less opportunity to experience good square
> dance calling.
I think it pertains elsewhere as well, though it's not as much a problem
here in the Southeast.
Those are my thoughts. I _really_ don't want a discussion to ensue about why
one geometric shape is preferable to another for dancing. We've had that
discussion here countless times. Different people like different things. If
you like what I do, hire me. If you don't, hire someone else. I am no longer
dependent on calling to put food on my table.
Cheers,
Nancy Mamlin
KMsSavage
others') triplets but less complicated. Nice because they are fast and fun to
teach, and when the first couple is "up" the 2nd time, everyone knows what
they're doing and they're having a fine ol' time.
Faves include OXO Reel, Va Reel, Kiss Your Granny, and so forth. (Want
prompts?)
The other night I instructed a bunch of high school kids (in baggy jeans and
flannel shirts) in the vagaries of that o-l-l-d chestnut Favors the Rose. They
acted just like my CW re-enactors! And when the music stopped (only 15 times
thru that tune on the tape), they KEPT DOING THE DANCE without music!
--Karen in Ann Arbor
Mike Prager
apologize.
Sources of non-contras suitable for public dances include Larry
Jennings' compilation _Zesty Contras_, published by NEFFA in 1983, and
_The Country Dance Book_ by Beth Tolman & Ralph Page, reissued in 1976
by the Stephen Greene Press in Brattleboro (VT). Don't know if either
is still in print, but I'm sure copies can be had....
The following is a list of dances I often danced at public dances in
New England 15 and 20 years ago, but that I almost never find when
dancing (in various places) today. Not all *strictly* meet the
question asked (non-contra dances), but I've put the others in as
worthy contenders:
- Sicilian circles
- a Grand March (usu. as opener or closer)
- La Bastringue
- Levi Jackson Rag
- Doudlebska or other polka mixer
- Waltz mixers
- Salty Dog Rag (usually a favorite, as it allows for fancy footwork,
twirls, etc.)
- a Hambo (usually at the break)
- a Norwegian polka or Schottische (usually when the band was warming
up or during the break)
- Ted Sannella's triplets (occasionally called by others)
- improper contras -- rare today!
- contras with their own tunes, e.g., Petronella, Chorus Jig, Rory
O'More, Hull's Victory, Money Musk. These and the preceding category
(with much overlap) are considered "difficult" today.
- squares -- they seem to be less called today, probably becaue
they're harder to call than contras.
- triple-minor contras -- There are some beautiful ones, but the last
time I did one was on special request to Tony Saletan at a workshop in
Berkeley. Thanks, Tony!
- double-progression contras
- dances for "those who know" (usually from the "dances with their own
tunes" category)
(A few nice additions these days have been more dances with heys and
other English and Western figures and more dances in Becket
formation.)
Other than the variety of contras, many of the dances in the list are
best programmed sparingly, to add variety to the evening. My least
favorites are circle mixers, yet some mixers are more lively than
others, and they can help build a community by introducing strangers.
Thus, I think good, lively mixers have an important place.
One thing I've always liked about community dances is the range of
folks one meets there. In a community that includes dancers who have
become old, some improper contras are especially nice, as they are
usually less frantic and allow everyone to dance. I don't think some
of the old-timers I've met, and who added so much tradition the dance
experience, would have been able to dance as long as they did without
such dances -- or in general, without a variety of fast and slow
dances.
In general, I think my list includes some dances easier and some
harder than the bulk of the contras one experience todays. I do miss
the variety and tradition they provided.
Mike Prager
Beaufort, NC
Alan Winston - SSRL Admin Cmptg Mgr
> I do lots of 3- and 6-couple longways set dances, sortof like Ted's (and
>others') triplets but less complicated. Nice because they are fast and fun to
>teach, and when the first couple is "up" the 2nd time, everyone knows what
>they're doing and they're having a fine ol' time.
> Faves include OXO Reel, Va Reel, Kiss Your Granny, and so forth. (Want
>prompts?)
I have OXO Reel and Va Reel/Roger de Coverly. Tell me about Kiss Your Granny
and Favors the Rose.
-- Alan (who calls triplets, squares, circles, Sicilian circles, and peculiar
formations at English Dances all the time.)
===============================================================================
Alan Winston --- WIN...@SSRL.SLAC.STANFORD.EDU
Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056
Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210
===============================================================================
KMsSavage
Doubtful Shepherd 1771
Three couple longways
A1 Women join hands and skip around men.
(Figure eight)
A2 Men join hands and skip around women.
(Figure eight)
B1 Right allemande with partner
1st couple cast to 3rd place
B2 Circle left (walking or slipping)
Circle right
Var 1:
B1 Top couple lead down, return, cast to foot
B2 Partner swing
The Doubtful Shepard or Kiss Your Granny
Traditional from the Otsego mss. 1808
Triple proper
A1 Three women single file around the three men while they balance and circle
3 hands once around
A2 Men single file while the women balance & circle
B1 Top couple down the center
Return, cast off one couple
B2 Circle six to the left once around
NOTE: The Single File and Balance Movements are made Toward the TOP of the
Hall. e.g. Men start balance l.r.l.r. While the Ladies balance first to their
RIGHT
(Karen's note: Who cares?!?)
These are best done to a set of three tunes played 3x each. Jigs are cool. For
my regular band, Golden Griffon, I just hold up 6 fingers (3 on each hand).
[That early college basketball refereeing class pays off.]
Favors the Rose (aka The Fan Dance)
Formation: Line of gents on one side of hall, line of ladies on the other.
Your honored person (costume contest winner? the President? the host?) is
placed at the top of the set in the middle, and presented with the favor. (Fake
roses work well, and are more durable than a fan. This weekend we'll be using a
plastic pumpkin.) Two people of the complimentary gender leave their line and
stand on either side of the victi--I mean, the first whatever. S/he assesses
the two others, makes a decision, and hands the favor to the first runner-up.
The selected one and the selector dance down the set, and join their respective
lines. The FRU steps to the center of the set, and the process is repeated for
the other gender.
The CW people go nuts over this. It's the only dance some of the younger &
shyer ones will do. I usually tell them that under no circumstances may they
toss the favor to the third person in line and then take the top four people,
so this puts the idea in their heads. Sometimes there is pantomined pleading,
down on one knee, sweeping hat gestures, outrageous flirting (fanning, ankle
displays). A couple weeks ago a woman took a look at the guy on the left, then
the one on the right. She tossed the flower up in the air and ran away from
them down the set! Yours truly has been known to abscond with a handsome
soldier, or the favor-holder.
This can be a work-out for the band, but it's a nice break from calling and
instructing and teaching. N.B. do not bring out three chairs for them to sit
in. They get too comfy and it takes too long.
--Karen M.
in Ann Arbor
Gloria Krusemeyer
Mike Prager wrote in message ...
----snip----
>The following is a list of dances I often danced at public dances in
>New England 15 and 20 years ago, but that I almost never find when
>dancing (in various places) today. Not all *strictly* meet the
>question asked (non-contra dances), but I've put the others in as
>worthy contenders:
---snip----
>- improper contras -- rare today!
Don't you mean proper contras??
>- contras with their own tunes, e.g., Petronella, Chorus Jig, Rory
>O'More, Hull's Victory, Money Musk. These and the preceding category
>(with much overlap) are considered "difficult" today.
---snip---
Mike Prager
<glo...@microassist.com> wrote:
>>- improper contras -- rare today!
>
>Don't you mean proper contras??
Yes!
Mike Prager
Beaufort, NC
Nancy Mamlin
KMsSavage <kmss...@aol.com> wrote in message
news:19991025205553...@ng-ck1.aol.com...
> Favors the Rose (aka The Fan Dance)
> Formation: Line of gents on one side of hall, line of ladies on the other.
(snip of Karen's description)
Around here, we call it "The Bench Dance". I've also known it as "The Broom
Dance" in NE Ohio/Western PA. Anyway, I've "called" the Bench Dance at
practically every dance around here that is in the one-night-stand/not a
wedding category. The kids love it, and sometimes we do it twice in one
night. It's a hoot! Of course, contrary to what Karen suggested, the folks
do sit down on a bench.
Nancy Mamlin
Nancy Mamlin
The Martins
: Faves include OXO Reel, Va Reel, Kiss Your Granny, and so forth. (Want
prompts?)
Yes I do! You all might think everybody already knows the dances you have
in your repertoire but 'tain't true. The idea is to turn us on to dances
that can be used to complement a contra program, or dances that are just
cool in their own right.
Elissa <elis...@aol.com> wrote:
: Do you ever add extra figures, or is it always
: center-and-back-swing-promenade-reverse-mix-repeat? How many
: beats for the swing? (8 beats works in my imagination.)
I keep it simple so the dancers and band can take it over. As soon as new
partners are snatched I yell "Circle up!", which cues the band to play
four potatoes and off they go again. This is an Irish dance and we always
did 16-beat swings, though with a contra crowd I'll sometimes substitute a
balance and swing. Mixers ought to be simple and fast-paced, in my
opinion. Minimal teaching and maximum movement.
: Are there any tunes that you particularly like to use with this dance?
Polkas or jigs are really fun, but anything works. Best to stick with one
tune rather than a medley. Some bands want to change tunes with each
repetition, which just does not work at all.
: Do you think that community dances that draw people of all ages use
: more dances of this sort than big urban dances that draw more of a
: homogeneous crowd?
In my experience, yes. Not because sets, squares or circles don't belong
at an urban contra dance but because the tiny segment of the incrowd that
is boorish wields power greater than their numbers justify. The rude
remarks they sometimes make when an uncontra is included in the program
can be unnerving, to say nothing of downright hurtful. No caller likes to
hear boos or hear "We want a contra!" yelled from the floor when
announcing a mixer or a square. So the callers drop the tainted dances
from their repertoire and the rest of us lose.
Bill Martin
Lisa K. Sieverts
as dances for an Idaho group that re-enacts 1860-99 southern Idaho. Always a
challenge to find time-appropriate dances. I'm not a re-enacter myself, so I
don't know the best ways to find information. Any pointers, or other
successful dances, would be GREATLY appreciated.
Lisa
lsie...@cyberhighway.net
Boise, Idaho
KMsSavage
they did, they'd have to be better at dancing than they are.) They are
generally not able to master complicated figures such as the right and left
through, or promenade over and back...let alone heys. And they tend to have
trouble maintaining dances that have two figures per phrase. Many's the time
I've altered prompts on the fly, deleting things in favor of "circle left, face
these folks, bow, pass through, get ready to ____ with somebody new."
Good sources: almost any broad-based book, even "Zesty Contras." Try ones
that are not "zesty": proper, highly imbalanced (19thC folks like to rest),
different formations, or just plain strange to modern dancers (the Fan Dance,
the Broom Dance, etc). I find I call a "lot* more during the called dances, so
it's nice to have a break during the couple dances and weird stuff. You can
also look thru the Library of Congress' on-line dance manuals
(http://memory.loc.gov/ammem/dihtml/dihome.html).
Here's a program I've used a few times:
1. Grand March
2. Portland Fancy Double Sicilian circle
3. Jimmy Allen Circle mixer
4. OXO Reel Six-couple longways
5. Sir Roger de Coverly Six-couple longways
The Virginia Reel
6. Maid of the Oaks Three-couple longways
7. Yankee Doodle Proper longways sets
8. Open Gallop
intermission
9. Open Schottische
10. The Gay Gordons Circle mixer
11. Favors, the Rose (Fan Dance) Longways lines
12. The Doubtful Shepherd Three-couple longways
13. Dudley's Reel Improper longways sets
14. Pop Goes the Weasel Proper longways sets
15. The Spanish Waltz segue to...
16. Good-night Waltz
I almost always use the same program format (type of dances in this order).
Good luck!
--Karen M.
David Millstone
to nearly fifty, some of which I include for variety's sake at a dance
which is mostly contras. (On several occasions, I've programmed an evening
in which every dance was in a different formation.) They're useful early
in the evening, when beginners are learning basic timing and figures and
experienced dancers appreciate the novelty of something different, as well
as when you want to throw in something out-of-the-ordinary as a special
challenge to a group of dancers who are ready for it.
"Zesty Contras" by Larry Jennings has a wonderful section on "other
formations," which includes these that I use a lot:
* Ted Sannella's "Scatter Threesome"
* "Ted's Tempest," (a sort-of-contra in the formation of the old Vermont
chestnut, "The Tempest"): two couples face down hall in line of four, with
a couple on each side of the line
* "Ted's Solo Mixer"
* Sicilian circles and double Sicilian circle (such as Fred Breunig's
"Etna Star")
* Circle dances (easy ones such as La Bastringue and Berkshire Fool) as
well as more complicated ones
The books by New England Dancing Masters ("Chimes of Dunkirk" and "Listen
to the Mockingbird") contain many simple dances that work fine with
dancers of all abilities, including some in lines with just the top couple
active. I'm thinking here of dances such as Chimes of Dunkirk, Sweets of
May, Brandie Shetland, Waves of Tory (for 5 couples) and the Virginia
Reel. Dudley Laufman's various small booklets also contain lots of dances
in this category.
Rod Linnell's "Square Dances from a Yankee Caller's Clipboard" contains
some examples of double quadrilles, elegant dances for eight couples. I
most frequently use Rod's Quad #2.
Gary Roodman is best known now as a choreographer of English country
dances, but his early books also contain some interesting American-style
dances in different formations.
There's always Pat Shaw, whose dances blur the lines between ECD and
American style dancing. Levi Jackson Rag is also for five couples and is
lots of fun if the musicians can play it at a brisk tempo.
Fried de Metz Herman is also known as an ECD choreographer, but her books
include a few American-style dances in non-contra formations, some of her
devising and some by others. "Pride of Dingle," for example, calls for a
four-couple set with one additional person. (Think of that chestnut,
"Ninepin," only in longways formation instead of square.)
Tom Hinds has a dance called "Hexitation" published in his "Dance All
Night" booklet; it's for a 6-couple rectangle, a square with an extra
couple at each head position.
Couple dances: Road to the Isles, Gae Gordons, Salty Dog Rag, schottische
Triplets, while they can be thought of as three couple contra sets,
include some moves which feel very different from more common contras; see
Ted Sannella's "Balance and Swing" and "Swing the Next" for full
descriptions, plus the brief notations and examples by other
choreographers in Zesty Contras.
Triple minor contras ("hands six") are certainly contras, but are novel to
many dancers and that unfamiliarity alone adds variety to an evening. The
range from stately and elegant, such as the traditional "British Sorrow"
and Chip Hendrickson's tribute to Ralph Page, "The Old Master," to more
fast-moving compositions by Larry Jennings and Al Olson, found in "Zesty
Contras." And then there are triple minor double progression dances such
as "The Witch's Brew" by Rod Linnell (printed in his book and in "The
Ralph Page Book of Contras") and "Witches' Paradise" by Larry Jennings in
Zesty.
-----
I call Steve Schnur's "Hot Tub Rag" often; I gather that it's also known
as "Cottontail Rag"
formation: five people in a circle, one of them designated as the "Jack"
or "Jill"
A1 Five-handed left hand star; halfway through the phrase,
Jack/Jill rolls out over right shoulder and walks in other direction (CW)
around the outside of the others remaining in the star
A2 Jack/Jill balance and swing any one of the others; the remaining
three form a line facing the swinging pair
B1 & B2
Lines go forward and back (three facing two)
Twosome, acting as a unit, do-si-do the center person in the line of three
(who will become the new Jack/Jill next time through the dance);
At end of the do si do, that center person face out while the other four
face in, center person crosses his/her hands in front, others join hands,
forming a ring with four people facing in and one out; don;t let go:
center person lifts their upper hand, making an arch, and with their other
hand pulls two people under the arch. As they come through, they lift
their leading arm and form a five-person basket without ever having let go
of hands; basket swing to the left
Notes: It's possible to fit all of the last part into one B, although it
can be done if all dancers are alert. One each way to get more time is to
omit the first part of B1, starting the B music with the do-si-do and
using the rest of the B1 to form the circle and get into the basket,
leaving more time for the basket swing.
-----
In short, there are *many* ways of devising a program that includes more
than contra contra contra. Enjoy!
David Millstone
Lebanon, NH