CONTRALAB
Updated June 15, 2019
(See also a more complete list of
definitions here. Added Dec. 4, 2016)
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Definitions SET: The overall arrangement of couples for a given dance, such as a big
circle, square formation, longways, etc. LONGWAYS SET: Two lines, usually made up of partners facing each other in
the opposite line. Used for contras and reels. BIG CIRCLE: One large circle made up of couples facing the middle. SICILLIAN CIRCLE (1): A formation consisting of one large circle made up of
couples alternately facing clockwise and counter-clockwise around the circle
to form pairs of couples. (2): A dance done in this formation. UP: In a longways set, toward the music. DOWN: In a longways set, away from the music. TOP: End of a longways set closest to the music. BOTTOM: End of a longways set farthest from the music. MINOR SETS: Within the set, the groups of two or three couples that do
all the figures of a dance together before separating in opposite directions
to join new groups. PARTNER: The person who agrees to be your prime collaborator through a
given dance. OPPOSITE or NEIGHBOR: Person next to you or across from you in the minor
set who is not your partner. TAKING HANDS FOUR: After lining up to form a set, joining hands in
circles of four (two couples) to see which couples will be progressing away
from the music (referred to as the #1 couples or the "active"
couples) and which couples will be progressing toward the music (#2 or
"inactive" couples). PROPER: In sets with mostly mixed-gender couples, lining up before a
contra dance so all the men are in the left-hand line and all the women are
in the right-hand line from the dancer's point of view looking toward the top
of the set. This is the way that experienced dancers first line up when they
join a set. IMPROPER: In sets with mostly mixed-gender couples, lining up for a
contra dance so that in each couple the men are on the left and the women are
on the right as they face the other couple. Since the #1 couples are looking
toward the bottom of the set, the partners in those couples have to swap
places after lining up in a proper formation (see above). Whenever a couple
reaches the end, the partners must remember to swap places. BECKET FORMATION: A variation of the basic contra formation. After
forming an improper set, the groups of four rotate one place to the left
(clockwise) so that the starting positions for the figures is partners
side-by-side in the same line instead of across from each other in the
opposite line. After doing the figures, each couple progresses sideways up or
down their own line. FORWARD & BACK: Two dancers or lines of dancers move toward each
other, then away, using 8 beats of the music. LEFT (RIGHT) HAND AROUND or ALLEMAND LEFT (RIGHT): Two dancers make a
strong connection with left (right) hands (usually at shoulder height) and
rotate counterclockwise around each other, using 8 beats of the music for a
complete rotation. TWO HANDS AROUND: two dancers join both hands with each other, either
right-to-right and left-to-left or straight across. Rotate clockwise, using 8
beats of the music for a complete rotation. DOSIDO: Passing right shoulders to start, two dancers or couples follow a
clockwise path around each other without contact. Individual dancers may spin
their bodies counterclockwise as they travel around each other, in any case
using 8 beats of the music for a complete rotation. SEE-SAW: Same as Dosido but passing left
shoulders to start and going counterclockwise. GYPSY: Same as Dosido but maintaining strong,
usually flirtatious, eye contact. RIGHT-HAND (Left-hand) STAR: 3 to 6 or more dancers walk clockwise
(counterclockwise) around their joined or touching right (left) hands. RIGHT (Left) HANDS ACROSS: Similar to right-hand (left-hand) star except
that the dancers take the hand of the person directly across from them in a
handshake grip. BALANCE: A dancer takes one more or less forceful step forward or to the
side, putting weight on it; lets the other foot swing through or across
without shifting weight off the first foot (though the second foot may
touch); swinging or stepping the second foot back to place, shifting the
weight decisively onto it; and bringing the first foot back to place. Takes
only 4 beats and often leads into a swing. A New England favorite, especially
if you want to show off. CAST OFF: From the center of the set, each active dancer dances forward
3/4 of a turn to a position one notch down the set. The active dancer usually
attaches appropriately to the inactive dancer and they rotate as a pair, but
in some contexts the inactive dancer must instead play follow the leader, or
conceivably even reaming stationary. HEY: A recently revived weaving figure for 3 or 4 people. Pass alternate
shoulders until you run out of people. Loop in the direction of the last
shoulder you passed and reenter passing that same shoulder with a new person.
Make loops wide and distinct. FIGURE EIGHT: The designated couple or person will dance a figure eight
pattern around a dancer or dancers specified by the caller. TURN CONTRA CORNERS: A dance action in which the active dancers touch
right hands with partner in passing each other to turn their right opposite
by the left hand, and again touch right hands with partners in passing each
other to turn their left opposite by the left hand. Then returning to
starting places directly without touching hands again. It takes sixteen beats
of music. SWING: Two dancers hold each other in any of a great variety of positions
and spin clockwise as rapidly and smoothly as they please. The classic
footwork is the buzz step: take a low, gliding step just past your partner's
right heel with your right foot, pivoting on it at the same time, then bring
your left foot up toward your right heel as you continue to pivot. Keep your
left heel raised. Usually 8 to 16 beats of music. RIGHT AND LEFT (over or back): A pair of dancers standing side-by-side
exchange places with a pair facing them like this: Each dancer passes the
opposite person by the right shoulder. Then both members of the pair, facing
the same direction, turn counter-clockwise as a unit to face back across. One
way to turn is for members of the pair to put their near arms around each
other's back. As they wheel around, the dancer on the left backs up and the
dancer on the right steps forward, both giving weight as in the swing. Also
popular is for the person on the left to give the person on the right a
modified courtesy turn. If this figure is done only once, it's sometimes
called "half right and left". Takes 8 beats. HALF PROMENADE: A dance action in which the designated dancers cross the set in promenade position, each couple passing to the
right of the other (men passing left shoulders). After crossing, each couple
wheels as a couple to face across the set again. SLOW SQUARE THRU: A dance action in
which the designated dancers give a right hand to the person they're facing
and pull by, turning to face the next in their group with a left hand pull
by, turning again with a right hand, and again with a left hand - each time
turning 1/4 except after the last (left) hand. This takes 4 beats of music
per hand; and is also known as "jigtime"
square thru. |
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Contra Moves & Timing
Allemande - 8 beats
Balance - 4 beats
Balance & Swing from 4 to 12 beats; Use a tune with accents (or
chords) at the point where a balance occurs, it's nice to have a quarter note
figure in a jig or a heavy accent in a reel.
Circle right or left - 8 beats
Courtesy turn - 4 beats
Do-sa-do - 8 beats
Down the center - 16 beats to walk down, turn around, and come back
up; use smooth music or march-type music
Forward and back - 8 beats
Full hey - 16 beats; use smooth music
Gypsy - smooth music; a minor key works well
Ladies chain across the set - 8 beats
Across and back - 16 beats
Pass through - 4 beats
Petronella turn - 4 beats; with a clap-clap on beats 3.5 - 4
Promenade - usually 16 beats (half - 8 beats)
Right and left through - 16 beats (half - 8 beats)
Roll away with a half sashay - 4 beats
Star right or left - 8 beats to go around once
Swing - 4 to 8 beats (or longer)
Wavy line balance - 4 beats; jigs work well |