Midwest Contra Dancing -- More Thoughts
Michael=J=Fuer...@leo.cecer.army.mil
Concerning contra dancing in the Midwest, the rest of this post
contains:
Part (i) portions of Erna-Lynne Bogue's foreword
and the Dance Editor's notes (by me) from
"Midwest Folklore and Other Dances,"
the Urbana (IL) Country Dancers' recently published book
of 100+ (mostly contra) dances.
Part (ii) Supplemental remarks
Part (iii) a description of and ordering info for the book
Part (i) -------------------------------------
In the 1970's and early 1980's, while a generation of Midwest
dancers was discovering New England style contra and square dancing,
a generation of younger Midwest fiddlers and banjo pickers had
begun to discover, collect and record their region's heritage
of Appalachian and Southern influenced tunes. These musicians
seized the moment and made their newly discovered music often played
for the region's newly imported dance form -- and this remains so today.
The match has worked well. Compared to New England's
fiddle music, these tunes are played at faster tempos and
have less distinct differences between musical phrases. The subtle
melody lines may initially appear to some as an emphasis on rhythm
over melody. Midwest dance composers, in turn, obliged the music
by writing many dances with unusual figures and patterns (sometimes
borrowed from mountain square dances which once accompanied the music), a
nd occasionally a figure which challenges the bounds of the musical
phrases. Of course it helped that Midwesterners naturally enjoy high energy
dances with lots of surprises. *** But ultimately, it's in the music. ***
Midwesterners dispostion towards spontaneity and informality has
influenced the organization of several of the region's dance weekends.
Callers are never hired, bands are usually not hired either.
Whoever wishes to call or play gets a turn. We never suffer from
lack of quality talent, with often enough to last until dawn.
Meals are always prepared by volunteering participants, rather
than a camp staff, with food provided by organizer purchases,
and/or potluck contributions. Such weekends include
"Swing into Spring" at McCormick's Creek State Park just
outside of Spencer Indiana (approximately 20 miles west
of Bloomington) and starts on the first Friday in April;
"Kimmswick Dance Weekends" held over Memorial Day weekend
and again in September by St. Louis' Childgrove Country Dancers;
"Sugar Hill" outside Bllomington IN each August;
"Breaking Up Thanksgiving" outside Chicago and
starting the day after the holiday.
All of these have been held since before 1980.
Admittedly, experienced danc]ers from either coast,
wandering into a Midwest dance, initially know not what to
make of the seemingly frantic music, nor our enjoyment of an
occasional dance in which a figure steals an extra beat or
two from the next musical phrase. But after a couple of hours,
they become infected with the exuberance of the Midwest's musical and
dance styles. On the other hand, for us in the Midwest,
contra dancing will always remain an appreciated New England gift.
New England callers and bands touring the Midwest always play
to well attended dances. Midwest dance gypsies returning from
a New England pilgrimage (vacation) always describe with
excitement the elegance and smoothness at the dances they attended.
A homogeneous contra dance world, lacking regional difference
for all to occasionally sample and relish, would be less fun and
less interesting.
So once New England style contra dancing took root in
the Midwest's music and culture, like a child growing to
maturity and leavaing home, its family resemblance
evolved to a unique identity.
Part (ii) ----------------------------------------------------------------
Along the lines of the above, Kathy Anderson tells me
that she tailors her dance programs differently
for midwest audiences, who really enjoy more unusual
dances.
When she has tried the same sort of
progam in other parts of the country, a few dancers
are always a bit miffed. For instance once in California,
a dancer came up to her and remarked that he comes to
dance not to think. And some ou you may remember the
discussion in this newsgroup a year or so ago after Kathy
called in Cambridge MA. So she now saves the
most unsual programs for the midwest.
The last two times I attended a dance called by Kathy,
a local dance in Urbana IL (my home) and a dance
in Valaparaiso IN (at Jerry Roneau's barn), Kathy
emphasized unusual dances. Everyone loved
it, but I am quite sure these two programs would
have been less well received in some other parts of the
country.
Part (iii) --------------------------------------------------
The Urbana (IL) Country Dancers have published
MIDWEST FOLKLORE AND OTHER DANCES
a collection of over 100 dances (mostly contras with
a few squares and others) composed mostly
by persons in the midwest
The book (with a forward by Erna-Lynne Bogue)
was published as memorial to the late Orace Johnson
who for several years was the leader, organizer,
mentor etc of our group.
The book contains teaching hints and historical
notes about many of the dances, and includes
indices by dance title and by dance difficulty.
The cost is $15 (including shipping).
All profits from the book go to the
Orace Johnson Memorial Trust, the funds from which
will be used to foster dancing and dance education.
*********************
Dance Contributors and Contributions
*********************
Kathy Anderson (Da]yton OH, but appearing everywhere):
Carmen's Hat, The Deep Well, The Long Road
Southern Nights, Swing Into Matrimony, Weave the Line
Tom Anderson (Urbana IL): Blackberry Trace
Mike Boerschig (Cincinnati OH):
The Barefoot in the Briarpatch Quickstep, Fisher's Corn Cob Pipe,
The Fishin' Reel, Happy as a Cold Pig in Warm Mud,
Here's to Good Neighbors, That Old Time Elixir
Erna-Lynne Bogue (Michigan): Colonel North's Contra Insurgency,
Compulsory Figures, Mr. Fix's Assignment,
Silver Lake Waltz, Thornapple Bridge,
Dean Bolton (Bloomington IN): Locomotion
Merle Breeding (Kentucky): Dogleg Left--Par Five
David Michael Cottle (formerly Urbana, IL; now UT)
Bluejay, Caspian Tern, Flicker
Roger Diggle (Madison, WI):
Crazy Eights, Crusty Old Salt, Double Dose,
Lost in Interstellar Haze, Making Hey, Roger's Weather Vane,
Roll in the Hey, St. Louis Cruise, The Snake Oil Reel,
The Third Time's the Charm, Vine Street
Michael Fuerst (Urbana IL):
A.O.'s No-No, A Chance Encounter,
Dave Found the Missing Coffee Cup, E.J.M.J.F. in Cincinnati,
A Fuerst Second Third Time's the Charm,
Maybe You Should Write an Easy Dance,
The Mystery of Edwin Drood,
Should Have Danced with Nancy, Star Birth,
Thanksgiving Day Turkey Reheated, And Thinking About Coffee Cups,
A Third Easy Dance, Where is Tim's Cup?
Janet Holland (Michigan):
The Beat Goes On, Hey to the Corners, Wave Your Weight
Deborah Hyland (St Louis, MO): 19 Glenaulin
Ken Johnson (St Louis MO): A and J's Reel
Orace Johnson (Champaign IL):
Cascades, Cozy Clover Swing, Cozy Nella,
Do It!, Du Quoin Races, Gander, Gypsy Sailor,
Irish Stars, M & M's Reel, Midwest Folklore, Money in Both Pockets,
Piecing Martin's Quilt (and Hull's Encounter),
River Rafting, Simple Circles, Starr Imports,
Swing into Spring
Kara Keeling (Formerly Bloomington IN, now VA): Widdershins
Ken Libbey (Cincinnati OH):
Sally's Reel, Swinging in the Rain
George Lowrey (the late founder of the Urbana Coutry dancers)
April's Hornpipe, Ames Amble, Crystal Lake Caper,
Eagle Creek Yankee, Illini Special, Modified Cayman,
Mary's Favorite, Polecats' Ramble, Tippecanoe and Tyler Too
Donna McAllister (Knoxville TN):
Awesome Double Progression Dance, Brown Bag Reel,
Caught in the Act, Follow the Lady
Al Olson (Chicago IL):
Alone at the End, New-mown Urbana Snow,
O.J. Special (named after Orace Johnson)
Mark Richardson (Bloomington IN):
The Belle of Versailles, Crinkum-Crankum,
Fair-Haired Cassidy, Fidgety Feet, Gypsy2 (Gypsy Squared),
Hard Work = Happiness, I'll Follow You Anywhere,
Martha Dakota's Reel, Peace and Love Contra,
Richard's Rapid Rappel, Shake, Rattle and Stroll,
Three Bricks Shy, Unity Among Friends
Mike Richardson (Seattle WA): Dancing and the Road to Hell
Jonathan Sivier (Champaign IL): S]wing on a Star
Bill Sudkamp (Chicago IL):
Attack of the Killer Tomatoes, The Blob's Reel,
Hey 'Round the Corner, Parallel Dried Alfalfa, Them
Paul Tyler (Chicago IL):
Al's Advice, Thornburners' Reel
Aaron Weiss (Champaign IL):
Hyla's Flirt, Kimmswick 90, Knoxville Memory
ORDERING INFO
Send your address and U.S.$15.00 (U.S.) per book to:
Orace E. Johnson Memorial
c/o Laura Sleade
1601 W. Park
Champaign, Illinois, USA, 61821
Make checks payable to: Johnson Memorial Trust
Paul M. Gifford
>From: Michael=J=Fuerst%PL-B%USA...@leo.cecer.army.mil
>Concerning contra dancing in the Midwest, the rest of this post
>contains:
>Part (i) portions of Erna-Lynne Bogue's foreword
> and the Dance Editor's notes (by me) from
> "Midwest Folklore and Other Dances,"
> the Urbana (IL) Country Dancers' recently published book
> of 100+ (mostly contra) dances.
>Part (ii) Supplemental remarks
>Part (iii) a description of and ordering info for the book
>Part (i) -------------------------------------
> In the 1970's and early 1980's, while a generation of Midwest
>dancers was discovering New England style contra and square dancing,
>a generation of younger Midwest fiddlers and banjo pickers had
>begun to discover, collect and record their region's heritage
>of Appalachian and Southern influenced tunes.
This is true in the broadest sense, but "Midwest" is a vague area which
takes in several cultural areas. First of all, what was revived was largely
music from southwestern Virginia and neighboring North Carolina, as well as
'20s commerical hillbilly recordings reissued by County Records, not "their
region's heritage." In general, there was little or no interest in the
traditional music of the local area. And that remains.
These musicians
>seized the moment and made their newly discovered music often played
>for the region's newly imported dance form -- and this remains so today.
> The match has worked well. Compared to New England's
>fiddle music, these tunes are played at faster tempos and
>have less distinct differences between musical phrases. The subtle
>melody lines may initially appear to some as an emphasis on rhythm
>over melody. Midwest dance composers, in turn, obliged the music
>by writing many dances with unusual figures and patterns (sometimes
>borrowed from mountain square dances which once accompanied the music), a
>nd occasionally a figure which challenges the bounds of the musical
>phrases. Of course it helped that Midwesterners naturally enjoy high energy
>dances with lots of surprises. *** But ultimately, it's in the music. ***
> So once New England style contra dancing took root in
>the Midwest's music and culture, like a child growing to
>maturity and leavaing home, its family resemblance
>evolved to a unique identity.
Most of the "New England fiddle music" associated with the contra dance
revival is new stuff, either composed, or imported Messer-style Canadian tunes
or British or Irish tunes associated with the English Folk Song and Dance
Society. The traditional music, which has gotten buried, is very similar to
the traditional music in parts of the Midwest, such as Michigan.
Paul Gifford
Michael R. Bissell
Paul M. Gifford <giff...@lib.flint.umich.edu> wrote:
>In article <8159556...@news.cecer.army.mil> Michael=J=Fuerst%PL-B%USA...@leo.cecer.army.mil writes:
>
>>dancers was discovering New England style contra and square dancing,
>>a generation of younger Midwest fiddlers and banjo pickers had
>>begun to discover, collect and record their region's heritage
>>of Appalachian and Southern influenced tunes.
>
>takes in several cultural areas. First of all, what was revived was largely
>music from southwestern Virginia and neighboring North Carolina, as well as
>'20s commerical hillbilly recordings reissued by County Records, not "their
>region's heritage." In general, there was little or no interest in the
>traditional music of the local area. And that remains.
Okay, if we are going to argue about the confines of the Midwest, we're
in for a long futile haul.
I disagree that musicians were and are uniterested in true, historical
tunes. I have known many musicians who have brought down tunes from old
family collections throughout the Appalacia and the Midwest.
Question: How old does it have to be for it to be part of your heritage?
>Most of the "New England fiddle music" associated with the contra dance
>revival is new stuff, either composed, or imported Messer-style Canadian tunes
>or British or Irish tunes associated with the English Folk Song and Dance
>Society. The traditional music, which has gotten buried, is very similar to
>the traditional music in parts of the Midwest, such as Michigan.
Okay, fine. So a lot of the music is current. I had a point, a while
back, that there are REGIONAL differences, and that there is a distinct
difference (as far as you can go with such a narrow view) between New
England and Midwestern styles. The region still has influenced the style
of both the dance and the music. Do you agree?
--+
| M |
+--
Michael R. Bissell
Portland, OR
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Paul J. Stamler
: An exception to this would be folks like Chirps Smith and Gary
: Harrison in Ill who grew up around the music and learned from
: traditional players.
Or Geoff Seitz or Jim Nelson or Jim Olin or the Graces or Cathy Barton or
Curtis Buckhannon or Barb Weathers or, uh, you, or...
My point being that when you get enough exceptions, it casts doubt on the
rule.
Peace.
Paul
Laura Leibensperger
R. Bissell) wrote:
> Okay, fine. So a lot of the music is current. I had a point, a while
> back, that there are REGIONAL differences, and that there is a distinct
> difference (as far as you can go with such a narrow view) between New
> England and Midwestern styles. The region still has influenced the style
> of both the dance and the music. Do you agree?
I'm jumping in sideways on this discussion because I think you may have an
inaccurate idea about what contras in New England are like these days (no
insult intended). In an earlier post (which unfortunately I didn't save to
quote directly here) you described "midwestern" contras as "zesty", but
that's not specifically a midwestern style, it's the style out here in NE
too. It may just be THE style everywhere at this point. I'm wondering if
the differences that you're thinking of as regional are actually
"generational" (traditional vs revival). If MW contras are recently
derived from modern NE contras it may be a little "apples and oranges" to
compare MW style to traditional NE style. If you compare modern MW to
modern NE, you may not find them so dissimilar. There must be somebody out
there (not me) who's danced in both New England and the Midwest who can
make a good comparison!
Laura
Peter Y
>There is little commendable about most of the contra dancing or
>the scene I have witnessed in the Midwest. All this flirtation
>stuff is totally phony and has no relationship to the social life
>of a real midwesterner. Ditto men dancing in skirts. Give me
>break!
As a New Englander I don't see anything wrong with it; it's like us doing
English country dance around here. What's sad is that it seems like in
many parts of the country (including New England) people are neglecting
the local traditions that still exist but won't much longer. It would be
nice to see more interest in the local traditions as well as in those of
New Englland and other places.
Peter Yarensky