Traditional Community Dance

by Marcia McKenzie

Open to All

A Dance By Any Other Name
The word "dance" conjures up different images for different folks. It's an activity that precedes history but continues today in many forms serving many functions - as celebration, pure art, prayer, exercise, and, of course, as a means of socializing with one special person or in groups. Animals even dance!

Here I want to focus on one type of dance but have always been at a bit of a loss as to what to call it. It tends to serve one purpose primarily - socializing in groups - but it can take a number of different forms - square dances, contra dances, circle and set dances. One could call it "group dance," but that term is fairly non-descript and could include so many other types of dance, from artistic dance performances, to sacred dance, to line dancing at the local night club."Folk dance" might be a bit more helpful since this kind of dance is for all folks, and much of it is from the folk tradition. But the term can also conjure up images of men in lederhosen or women in flowing Greek gowns performing ancient dances native to different countries.

"Traditional dance" may be a bit more accurate because, even though many of the dances have been created quite recently, they do draw on a body of traditional dance moves and are danced as part of a long tradition of communities gathering together to socialize. And, although dances are sometimes held for private groups - churches, conferences, weddings, parties, even square dance "clubs" - the activity I will be describing is by and large done in settings open to the public, the community, and new dancers are encouraged to participate. So the term "community dance" also seems to be somewhat apropos.

So, for lack of a better phrase, I will say that what we are dealing with here are "traditional community dances" that include primarily square dances, contra dances, set dances and circle dances. My aim is to try to explain them to those who may not be very familiar with them, who have always wondered what a "contra dance" is when they see one advertised in their community. As a dancer, dance caller and musician for dances, I hope to address all three perspectives. Note, however, that I in no way claim to be an "authority" and would welcome input (corrections, clarifications, etc.) from others who may be more knowledgeable in these areas.

Open to All (Back to the Top)
As community dances, whether square dances, contra dances, or a mixture, these are events which encourage participation by all, and newcomers are welcomed. There is certainly a range of experience level, and some long-standing community dances may have an abundance of very experienced dancers, making it a bit more challenging (but also fun and exciting!) for newbies. Other dances may have many more beginners or less-experienced dancers. In any case, experience is certainly not a requirement since each dance is taught by the caller, with a brief walk-through, before it is danced to music. Often there is an additional workshop for beginners held before the evening of dances so that these folks can become more familiar with some of the common dance figures.

The other important point to note is that you do not need to come to these dances with a partner. In fact, even if you do, chances are you may not dance with him or her for much of the evening. Tradition has it that, in a much more conservative world, these kinds of dances provided an acceptable way to have physical and social contact with members of the opposite sex. Though not mandatory, dancing with different partners is common, and some dances are even configured so that you constantly change partners within the same dance!

Squares vs. Circles, Sets vs. Contras

Squares (Back to the Top)
Even those not very familiar with traditional community dances probably have at least some vague notion of what a "square dance" is. Unfortunately, this notion may come from negative memories of having to hold hands with students of the opposite sex in 4th grade gym class while the teacher barked out commands in time with a scratchy recording of very uncool music. Others may be familiar with square dance clubs, which are still quite popular in some parts of the country but which require membership, progressive sets of instruction, and often the wearing of a particular outfit or costume (none of which is a requirement at community square dances).

As the name implies, these dances are danced in square figures. There are 4 couples (8 persons) per group, with each couple forming one side of the square. They all face the center of the square, with partners side-by side, and each couple has its back to one of the 4 walls of the room (or imaginary walls if the dance is held outdoors). Within each couple, the gent (or the dancer playing the gent's role) is on the left, with his partner (the lady) on his right. (While this is the tradition, there are many dances where the gent-lady roles are insignificant, and these dances lend themselves particularly well when calling for groups of mainly women or children, for example.)

Each couple has a "home" position, where they start, and usually end, the dance and which they often return to at various points in the dance. Some dances give each couple a number (1-4), with the 1st couple being the one with their backs to the caller/band, the 2nd to their right, the 3rd across from them, and the 4th to the left of the 1st couple. Many of the older dances, called "visiting squares," involve each couple, in turn, performing a series of figures with the other three couples. After one couple has done this, there may be some group figure which involves the entire square before the next couple does its "visiting." Sometimes this group figure may even involve a change of partners.

	L3	G3
G4			L2
L4			G2
	G1	L1

Band/Caller
position

Couples 1 and 3 are also called "Head" couples.
Couples 2 and 4 are also called "Side" couples.

Another type of square dance involves the terms "head couple" (couples 1 and 3) and "side couples (2 and 4). Normally the heads will do a series of moves, followed by the sides doing the same moves. This may be repeated once again, and there will probably be some group figures at different points in the dance that may or may not involve a change in partners. An example of one such dance is given later in this article.

Because all the dancers are not dancing all the time, these two types of squares allow time for socializing with one's current partner or just doing some freestyle dancing. Over the years, in deference to dancers who want to be moving all the time, squares have been developed which involve all of the dancers all of the time. This is just another fun variant in a very rich tradition.

As with all the community dances I will be describing, these squares are taught before they are danced, and a caller prompts the dancers throughout the dance as needed. (Occasionally in rural communities with long-standing dances those attending have become so familiar with the dances that they require very little or no prompting, but these are not the kinds of events I am referring to.) Some squares are timed to the music, with the various moves requiring a specific number of beats and happening at regular intervals. Others fit more loosely. While the dancers move (walk, clog, shuffle, bob) in time with the music, it is less crucial that the figures take a specific number of beats, and the caller simply calls the next move when the dancers are ready.

The music has traditionally been old-time Southern Appalachian music, usually consisting of fiddle, banjo, and, now, guitar and bass. There is, of course, no rule that requires this, and western square dance clubs often dance to more modern music, but the shuffley, high-energy old-time tunes lend themselves particularly well to this type of dance. If the dance is timed to the music, the band must usually play an even, AABB, 64-beat tune. Otherwise, a "crooked" tune, or a 3-or 4-part tune will work just fine. In the example described later, the dance is timed to the music and we (the musicians) therefore play a medley of two even, 64-beat tunes.

For a brief description of old-time square dancing and links to other square dances, visit:
The New River Valley Old Time
For a good overview of the Old-Time music tradition, see:
The Carolina Music Ways History page
For a more in-depth description of old-time square dance calls and recordings, go to:
Phil Jamison's "Barn Dance with Calls" article
For a comparision of western and traditional square dancing, see:
Bill Ackerman's "A Guide to Learning Western Square Dancing for Traditional Dancers"

Circles (Back to the Top)
Circle dances probably date back even earlier than square dances, and usually an evening of community dances will involve at least 1 or 2 circles. The most common type will be circle "mixers," in which everyone is continually changing partners throughout the dance, doing a series of the same dance moves with each one in turn, or with the entire circle. In "Kentucky Running Set" circle dances, dancers do not change partners but, instead, each couple executes a series of figures with different couples (i.e. in groups of 4) in turn. At contra dances (described later), these latter types of circle dances have become the more structured "progressive circle" dances, which are like contra dances where the two opposing lines have been curved into a circle so there are no ends.

Progressive circles are timed to the music and require even, 64-beat tunes from the band. Circle mixers and Kentucky running sets may or may not be timed to the music. Traditional tunes are common, either Southern Appalachian (the norm at square dances) or New England or Celtic tunes (heard at many contra dances). More on music later.

Sets (Back to the Top)
Sometimes referred to as "wholeset longways" dances, these are simpler precursors to today's contra dances. If you have ever danced the Virginia Reel, you have danced this kind of set. Dancers are arranged in 2 lines facing each other, with each person's partner in the opposite line, across the "set." Depending on the dance, there may be an exact number of couples specified, or it may not matter. The couple closest to the caller/band is the "head couple." A series of group moves (the entire set) alternate with some figures performed or led by just the head couple. At the end of one time through the dance, the head couple has moved to the bottom (opposite end) of the set, and the couple that was second in line becomes the new head couple. The dance is repeated. Again, some set dances are timed with the music, and others are not. These kinds of dances are very good for children or beginning dancers and are often easily adaptable to eliminate the need for male and female roles.

Contras (Back to the Top)
Having nothing to do with guerillas in South America, the term "contra dance" has been posited by some to come from the word "country dance" since the form is similar to many traditional English country dances. The more common belief is that it comes from the French "contre," meaning "opposed," since it is danced in two opposing lines as in the set dance.

While the arrangement of the dancers is similar to that for set dances, there are a few important differences. The number of couples in each set is limited only by the length of the dance hall. Instead of there being only one head couple, every other couple is, in effect, a head couple (although in contra dancing they are called "actives" or "ones"). At the beginning of each dance, dancers will line up in 2 lines, with the women's line on the caller's left and the men's line on the caller's right. They "take hands 4 from the top," meaning they will form circles of 4 (2 couples) all the way down the set, starting at the head (the end closest to the band/caller). This defines the roles of the dancers, with the "actives," or "ones," being the couple in each group of 4 that is closest to (has their backs to) the band, and the "inactives," or "twos" being the couple in each group that is farthest from (facing) the band. In "proper" contra dances, all the gents remain in one line, and all the ladies are in the other. For "improper" dances, the actives change places with their partners so that each line alternates male and female dancers. In each group of 4 dancers, your partner is across the set from you, and your "neighbor" is the person next to you (from your same line) who is not your partner. The set-up for an improper contra dance is as follows:

L	G	(Inactives)
G	L	(Actives)
L	G	(Inactives)
G	L	(Actives)
L	G	(Inactives)
G	L	(Actives)
L	G	(Inactives)
G	L	(Actives)

Band/Caller
position

Contra dances are almost always danced to 64-beat tunes (there have been a few written for tunes of other lengths). Each group of 4 dancers executes a series of dance figures with each other that take 64 beats total. By the time the tune has been played through one time, the dancers have "progressed" to the other side of their neighbors. Thus, the active couples have moved one space "down" the set (away from the band/caller), and the inactives have moved one space "up" the set (toward the band/caller). They are now facing new neighbors, and the dance is repeated. And what happens when a couple gets to the top or bottom of the set and there are no more neighbors left? They must wait out the dance one time through the tune, at which time there will be another couple coming their way looking for neighbors. The couple that has been waiting will then reenter the dance, this time going in the opposite direction. This means if they were actives progressing down the set, they will now be inactives progressing up. If they were inactives progressing up the set, they will now be actives progressing down. And if this is an improper contra (as most contra dances are these days), couples must remember to change places with their partners before reentering the dance so that each line will still be alternating male-female. Examples of several improper contra dances are given below.

Whew! It sounds complicated, but once you've done it a few times it becomes second nature. The majority of contra dances are structured the same way (there are Beckett dances and double-progression dances that work a little differently). It is mainly the series of figures that changes with each dance, and, as with other community dances, these are taught and practiced a few times before they are danced to music.

Southern Appalachian old-time music works just fine for contra dances as long as the tunes are even. However, other styles have become common as well. Besides the traditional old-time instrumentation mentioned above, one often hears piano, whistle, drums, mandolin, and even reed instruments. The more melodic New England-style, French-Canadian or Irish reels, jigs and marches are commonly heard, along with swing, ragtime, and other styles. The main requirement is that the tunes be 64 beats in length and inspiring to dance to! There are many ways in which the dance musicians can make their music fit the particular dance being called and thus drive the dance even more. I will address some of these methods below.

For more information on contra dancing, check out:
This article by Greg Rohde
A Contra Dance Primer
Gary Shapiro's "What is Contra Dance?"

For locations of contra dances and/or bands in your area, go to:
Ted Crane's Dance Database
Dwayne Johnson's Contra Dance Locator
Charles Seelig's Contradance in the United States, Canada and the World

Some Example Dances Described (Back to the Top)
Note: links on the tunes open mp3 files which are large (up to 5mbs). Selections with Nils Fredland calling were recorded with a minidisc recorder using a small stereo "T-mic" and represent more what the dancers heard, since it was placed down the hall. Selections where Jack Mitchell and Rob Craighurst are calling are recorded with the same recorder, but from a line out from the pa head, so this sound is essentially what the microphones were hearing. No monitor speakers were used at any of the dances and the caller "ran sound" for the most part.

AL'S SAFEWAY PRODUCE, by Robert Cromartie (improper contra dance)
Caller: Nils Fredland
Musicians: The McKenzies (Woody on mandolin; Marcia on guitar and djembe)
Tunes: Old Torn Petticoat/Julia Delaney/Bonnie Prince Charlie

A.1	Star left (8 beats)
	Neighbors allemande left 1 1/2 times (8 beats)
A.2	Ladies, allemande right 1 1/2 time (8 beats)
	Swing your partner, end facing across the set (8 beats)

B.1	Circle left 3 places (8 beats)
	Swing your neighbor on the side (8 beats)
B.2	Long lines, forward and back(8 beats)
	Right hand star (8 beats)

This is an improper contra dance, so the actives have changed places with their partners and each line should alternate lady-gent (see contra dance diagram above).

Star left: In each group of 4, the dancers put their left hands in the middle, holding the wrist of the person in front of him/her, and walk around one time until they are back in the same place.
Neighbors allemande left 1 1/2 X: Take left hands with your neighbor (the one in your group who is in your same line) and walk around once and a half (actually a bit more), setting the ladies up to meet each other with right hands across the set.
Ladies allemande right 1 1/2 X: Ladies take right hands and walk around once and a half until they have traded places and are ready to meet their partners in the opposite line.
Swing your partner: Partners swing on the gent's side of the set, ending facing across the set toward their neighbors and with the lady on the gent's right in each couple. The swing is a fast pivot with another dancer, usually holding each other in the ballroom position.

Circle left 3 places: Still with the same couples, all 4 join hands and circle to the left 3/4 of the way around until they are back where they started the dance (next to their neighbors on the side).
Swing your neighbor on the side: Neighbors swing on their original side of the set, ending facing across the set with the lady on the gent's right. This progresses each dancer one place.
Long lines forward and back: Taking hands with the person on either side in the same line, the 2 lines walk 4 steps toward each other and 4 steps back to place.
Right hand star: (also called star right). This is the same move as at the beginning only with right hands in the center. Since the dancers have already progressed at this point, this move will end with each next to a new neighbor, who they will include in the "Star left" as the dance begins again.

What your are hearing:
Since we play mostly as a duo, we like to add as much variety as we can into an evening of dance music. Whereas the fiddle is the most common lead instrument for these kinds of dances, the mandolin also works quite well and adds a different sound and energy. Listen to the point in the tune where the dancers do the figure "long lines forward and back." There is the potential for high energy and excitement when the dancers meet face-to-face with their partners on beat 4. Often they are moved to stamp or shout. This can be driven in the music by playing a strong rhythm chop (in this case on the guitar or later the djembe) on the 4th beat, or even by leaving a space in the music so that the dancers alone create the sound for that 4th beat.

Marcia switches from guitar to djembe to start the 2nd tune in the medley. This adds variety and boosts the energy a bit. Another way she adds energy is by gradually increasing the dynamics in the first half of the 2nd tune building toward a punchy second half of the tune. In the 3rd tune the guitar at times plays very sparcely, allowing the dancers to create more of the rhythm and the mandolin to be heard even more. Notice that, by the end of the dance, the caller is having to prompt the dancers very little as they have memorized the dance by then.

KIMMSWICK EXPRESS by Gene Hubert (timed square dance)
Caller: Nils Fredland
Musicians: The McKenzies (Woody on fiddle; Marcia on guitar)
Tunes: Sandy Boys/Ragtime Annie

Introduction:
Bow to your corner, partner (16 beats to feel the music, introduce yourself, etc.)
All join hands and circle left, circle right (8 beats)
Circle right( 8 beats)
Allemande left with your corner
Grande right and left (16 beats to complete these 2 moves)
Meet your partner and do-si-do (8 beats)
Promenade home (8 beats)

Figure:
Head couples, forward and back (8 beats)
Head couples, right and left through (8 beats)
Heads join hands and circle left 3 places (8 beats)
Pass through, do-si-do (8 beats)
Make waves at the sides, balance
Allemande right; Gents by the left (~8 beats to complete all 4 moves)
Swing your partner (8 beats, maybe a little less)
Promenade home (8 beats, maybe a little more)
(Swing at home if there's time) (8 beats)

The Figure is repeated for the side couples

Chorus:
Gents to the center, star left (8 beats)
Partners allemande right 1 1/2 times (8 beats)
Ladies to the center, star left (8 beats)
Swing your partner (8 beats)
Allemande your corner
Grande right and left
Promenade home (32 beats to complete all 3 moves)

The Figure is repeated for head and side couples before ending with all 8 dancers circling left and right and going into the center for a big shout.

This is a square dance in which the figures are called in time with the phrases of the music. But, as you can see from the notes above, the timing is less exact than for the contra dance, and there is more flexibility as long as the moves are completed by the end of the 64 beat tune. As describe in an earlier section, the formation for a square dance has each couple standing side-by -side with their backs to one of the 4 walls. Ladies are on the right in each couple (see the square dance diagram above). The person next to you who his not your partner is your corner. This square calls for the roles of "head" and "side" couples rather than numbered couples.

The Figure is described in more detail below. A few of the Introduction/Chorus moves that may need explanation are:

Allemande left you corner: Join left hands with your corner and walk all the way around and back to place. You are now facing your partner.
Grande right and left: Take right hands with your partner, walk past him/her and take left hands with the next person, right with the next, left with the next (ladies move clockwise; gents move counter-clockwise), until you meet your partner on the opposite side of the square.
Do-si-do: Walk forward, passing right shoulders, slide back-to-back, and, without turning around, back up to place passing left shoulders.
Promenade home: Turn so that you are both facing side-by-side, lady on the right, join left hands to left hands and right to right, walk home in a counter-clockwise direction around the square with the lady on the outside.
Circle left and right: All 8 dancers circle together (self-explanatory).

Figure:
Head couples forward and back: Holding hands with partners, couples 1 and 3 move toward each other 4 steps and back up 4 steps.
Head couples right and left through: Same couples walk toward each other, this time passing right shoulders with the person they come to. After passing through, partners take left hands and the gent puts his right hand in the small of his partner's back, guiding her around until they are both facing toward the center of the square with the lady on the right (they have traded places with the other head couple).
Heads join hands and circle left 3 places: Same couples circle left 3/4 of the way around.
Pass through and do-si-do: Head couples pass right shoulders with the person they are facing from the other head couple and do-si-do the person from the side couple they come to. Do-si-do one full time around and just a little more, placing the head ladies between the side couple and the head gents on the end of the same side couple (the end farthest from his home). Heads are facing out, away from the square; sides are facing in, toward the center of the square. This is called a "wavy line" or "waves."
Balance: Lean toward the person on your right with a little bounce (2 beats), then lean toward the left (2 beats).
Allemande right: Gents by the left: With the person on the right, hold right hands and turn half-way around, changing places and putting the 2 gents in the middle of the line. Then they join left hands and turn half-way around until they are facing their partners.
Swing your partner: This is a short swing, usually in the ballroom position.
Promenade home: Described above.
Swing at home if there is time: It's nice to have a move that dancers can do if they arrive in their spot early but that others can leave out if they are a little behind.

What you are hearing:
We decided to play a couple of old-time tunes for this dance. Sometimes we do this on fiddle and banjo, but in this case we chose the fiddle and guitar. The first tune is in the key of A and the second is in D, just for variety. Unfortunately, we changed tunes a little too late in the dance so that the second wasn't played long enough. It's a good idea for musicians to ask the caller what the length of the dance will be (i.e. how many times through the tune). Some square dances are short enough that one tune is probably better than 2 or 3.

Notice that the caller never stops prompting, a common characteristic of square dances, especially when the dance moves are more loosely fitted to the music. His prompts can become shorter, more cryptic, but he can never stop entirely, as often happens with contra dances.

TRIP TO TROY, by Rick Mohr (?) (improper contra dance)
Caller: Nils Fredland
Musicians: The McKenzies (Woody on fiddle; Marcia on piano, djembe and banjo)
Tunes: Whistling Rufus/Reel Dionne variation/Magpie

A.1	Balance in a ring(4 beats)
	Circle left half-way (4 beats)
	Swing your neighbor on the side, face across (8 beats)
A.2	Ladies by the right 1 1/2 times (8 beats)
	Allemande left your partner 3/4 (4 beats)
	Turn your shadow by the right once around (4 beats)

B.1	Partners balance and swing (4, 12 beats)
B.2	Circle to the left 3 places (8 beats)
	Balance in a ring (4 beats)
	California twirl to face the next (4 beats)

As this is another improper contra dance, dancers start out in the same orientation as for the first dance described above. The dance starts out with groups of 4 holding hands.

Balance in a ring: Holding hands, all four dancers lean toward the center of the ring with a little bounce (2 beats) and away from the ring (2 beats). Dancers like to accentuate the bounce by stomping their feet.
Circle left half-way: Still holding hands, dancers circle left until they are on the opposite side of the set.
Swing your neighbor, face across: Neighbors swing on the side of the set and end with the lady on the right facing across the set.
Ladies by the right 1 1/2 times: Ladies take right hands and turn one and a half times until they are facing their partner in the opposite line.
Allemande left your partner 3/4: Also called a left-hand turn, partners take left hands and turn three fourths of the way around until they meet someone of the opposite sex.
Shadow by the right once around: This person each dancer meets is his/her "shadow." It will always be the same person throughout the entire dance, but it is neither one's partner nor one's neighbor. Taking right hands, turn once around with this "shadow" until you are facing your partner again.

Partners balance and swing: With your partner, join one or both hands and lean toward each other with a little bounce (2 beats) and away from each other with a little bounce (2 beats), again, often accompanied by stomps. Then pull together and swing for about 12 beats, ending facing across the set with the lady on the right.
Circle left 3 places: This puts couples in the "progressed position (having moved to the next space beyond their neighbors) but on the wrong side of the set.
Balance in a ring: Same as at the beginning of the dance
California Twirl, face the next: Letting go of neighbor's hands, partners twirl the lady under the gent's arm to his place and he moves to hers, at the same time both turning to face the other direction (away from the neighbors they were just dancing with) to face new neighbors.

What you are hearing:
This is a fun medley of tunes that we play on a variety of instruments. Starting out on piano and fiddle, notice how the rhythm (piano) at times drives the energy of the balances by hitting 4 strong downbeats in time with the stomping of the dance move. Alternately, the rhythm can hit down beats just on beats 1 and 3, leaving the dancers to fill in the rhythm on beats 2 and 4.

The djembe starts off the second tune, increasing the dancers' excitement. Notice how the structure of the melody for this tune fits with the balances particularly well. As musicians, we try to watch as the dance is being taught so that we can pick tunes that match well, paying special attention to aspects such as which parts of the dance are smooth and which are bouncy or whether the moves suggest something in a minor key. Then the piano comes back in, Marcia plays it in different registers to add variety, or she plays it sparingly to allow the dancers to create more of the rhythm. The djembe comes in again the last time through the tune as we transition to the final tune in the medley.

The banjo adds yet more variety, breathing new life into the dance by giving it a different feel. The banjo can emphasize the balances in much the same way the piano does. Notice that by now the caller is having to prompt much less as the dancers have become more familiar with the dance. To add a fuller sound at the end and bring the instrumentation full circle, the piano comes back in for the final time through the dance.

GRAMPA GREG, by David Zinkin (improper contra dance)
Caller: Jack Mitchell
Musicians: The McKenzies (Woody on mandolin; Marcia on guitar and djembe)
Tunes: Staten Island Hornpipe/The Traveler/Star of Munster

A.1	Neighbors allemande left 1 1/2 times (8 beats)
	Ladies chain across (8 beats)
A.2	Pass through (4 beats)
	Swing your partner, end facing across (12 beats)

B.1	Gents allemande left half way (4 beats)
	Give right hand to your neighbor, balance long wavy line (4 beats)
	Swing your neighbor, end facing across (8 beats)
B.2	Long lines forward and back(8 beats)
	Right hand star (8 beats)

Neighbors allemande left 1 1/2 times. Neighbors do a left-hand turn one and a half times until they have traded places.
Ladies chain: Ladies continue moving into the center of the set, where they join right hands and pass by each other, crossing the set. They meet their partners with a left hand, and this partner place his right hand in the small of the lady's back, guiding her around until both are facing across the set.
Pass through: This is the same move described in the square dance above, with partners passing right shoulders with their neighbors, crossing over to the other side of the set.
Swing your partner: Partners swing on the same side of the set and end facing across the set with the lady on the right.

Gents allemande left half way: Gents take left hands and cross the set to their neighbors
Give right hand to your neighbor, balance long wavy lines: With the gents still facing out and the ladies facing in, neighbors take right hands and form long lines up and down the set. In this position, everyone balances (2 beats to the right, 2 to the left).
Swing your neighbor: Neighbors swing on the same side of the set and end facing across the set with the lady on the right. At this point everyone has "progressed."
Long lines forward and back: Holding hands in long lines, everyone takes 4 steps toward his/her partner and 4 steps back.
Right hand star: All 4 put their right hands in the center and turn the star once around and back to place, where you turn to face a new neighbor.

What your are hearing:
We chose a medley of three tunes played on mandolin for this dance, with guitar back-up and some djembe added on the last tune. The melody of the first tune, Staten Island Hornpipe, seems to fit the dance especially well (notice the melody at the point where the balances occur in the dance). Unfortunately the guitar level is a bit low in the mix, but you can still hear what's going on. Unlike the previous selections, however, you don't hear much of the dancers here because the recording was made directly from the PA head instead of out on the dance floor.

This is another example where we change keys to add variety. The first tune is in D, the second in G and the third in A minor. In addition to the balances in the dance, the guitar rhythm can play to the "long lines forward and back" figure by accenting downbeats or leaving spaces for the dancers to create the rhythm. At times, in the second tune in particular, the guitar becomes very sparce, with only occasional strums, to add variety and to build toward the next time through the tune, when it is played more fully.

Dynamics are used in the same way to add energy. The last tune lends itself to this effect especially well. The droney minor chords can become gradually louder, building the energy and carrying the dancers with it. Of course, the musicians gain energy from the dancers as well. It's a two-way street and often a very magical experience.

The caller continues to prompt throughout this dance, never entirely dropping out as happened in some of the previous dances described. This may have been a slightly more challenging dance for the level of the dancers in attendance. The prompts do get shorter, however, and the caller is able to drop out for brief periods.

M.A.D. ABOUT DANCING, by Robert Cromartie (improper contra dance)
Caller: Nils Fredland
Musicians: The McKenzies (Woody on guitar; Marcia on whistle; both on "vocals")
Tunes: Lannigan's Ball/Cliffs of Moher/Garryowen

A.1	Wavy lines balance (4 beats)
	Neighbors by the right 1/2 way to a wavy line (4 beats)
	Balance again (4 beats)
	Men by the left all the way (4 beats)
A.2	Neighbors balance and swing, face across (4, 12 beats)

B.1	Circle left 3 places (8 beats)
	Partners swing on the side, face across (8 beats)
B.2	Circle left again 3 places (8 beats)
	Neighbors balance and pass by to a new wavy line (8 beats)

Wavy lines balance: This dance starts out in lines of 4 across the set, with actives facing down the set and inactives facing up. Neighbors are holding right hands, and women are in the center of the line holding left hands. In this position, dancers balance to the right (2 beats) and the left (2 beats).
Neighbors by the right 1/2 way to a wavy line: Neighbors do a right hand turn half way, putting the men in the center of the line.
Balance again: Same as the first balance (right, then left)
Men by the left all the way: This time the men do a left hand turn all the way around until they are back facing their neighbors.
Neighbors balance and swing: Neighbors balance toward each other (2 beats) and away (2 beats) and then swing, ending facing across the set with the lady on the right.

Circle left 3 places: All 4 join hands and circle to the left 3/4 of the way around, putting partners on the same side of the set.
Partners swing on the side: Partners swing and end facing across the set, with the lady on the right.
Circle left 3 places: All 4 join hands again and circle left 3/4 of the way around, putting everyone back in the position they started in at the beginning of the dance.
Neighbors balance and pass by to a new wavy line: Balance toward each other (2 beats), away (2 beats), then neighbors pass each other by the right shoulder, meeting a new neighbor to join right hands in a new wavy line of 4 across the set with the women joining left hands in the center.

What you are hearing:
Jigs also work very well with balances and other "bouncy" moves. Here we chose a medley of three jigs played on penny whistle with guitar back-up. The key changes (E minor to A minor to G) add variety, as does the sound of the whistle. By the time we play the last tune, the caller isn't needing to prompt much, so we add to the fun with some surprise vocals. The caller and even the dancers themselves join in, giving them yet another way to participate in the dance!

YOU CAN'T GET THERE FROM HERE , by Carol Ormand (improper contra dance)
Caller: Rob Craighurst
Musicians: The McKenzies (Woody on fiddle; Marcia on guitar and djembe)
Tunes: Around the Horn/Curvy Road to Corinth
(Around the Horn is a modern tune written by Jay Ungar. Curvy Road to Corinth is also a modern tune written by Larry Unger. They are both great dance tunes!)

A.1	In lines of 4, balance(4 beats)
	Turn by the right 3/4 (4 beats)
	Balance in long lines (4 beats)
	Turn by the right 3/4 (4 beats)
A.2	Balance again and swing your neighbor (4, 12 beats)

B.1	Circle left 3 places (8 beats)
	Partners swing on the side (8 beats)
B.2	Circle left 3 places (8 beats)
	Neighbors do-si-do 1 1/2 times to a line of 4 (8 beats)

In lines of 4, balance: As described in the previous dance, this dance begins in lines of 4 across the set, with actives facing down the set and inactives facing up. Neighbors are holding right hands, and women are in the center of the line holding left hands. In this position, dancers balance to the right (2 beats) and the left (2 beats).
Turn by the right 3/4: Neighbors do a right-hand turn 3 quarters of the way around until everyone is in long lines up and down the set with the ladies facing in and the gents facing out.
Balance in long lines: Now in long lines, balance again to the right (2 beats) and left (2 beats).
Turn by the right 3/4: Neighbors again do a right-hand turn, this time putting the dancers back in lines of 4 across the set but with the men in the center of the line holding left hands.
Balance again and swing your neighbor: Balance once more in lines of 4, then neighbors swing on the same side of the set and end facing across the set with the lady on the right.

Circle left 3 places: All 4 join hands and circle to the left 3/4 of the way around, putting partners on the same side of the set.
Partners swing on the side: Partners swing and end facing across the set, with the lady on the right.
Circle left 3 places: All 4 join hands again and circle left 3/4 of the way around, putting everyone back in the position they started in at the beginning of the dance.
Neighbors do-si-do 1 1/2 times to a line of 4: Neighbors do-si-do once and a half, trading places and joining with new neighbors in lines of 4 across the set as in the beginning of the dance.

What you are hearing:
When we listened back to these two dances (this one and the previous one), recorded on different evenings, we were surprised to realize that they are very similar, almost identical. And, even though we chose very different tune medleys, they both seem to work well.

For this dance we played only two tunes out of what we normally play as a 3-tune medley because the dance ended up being a bit shorter than we expected. (If possible, it's best to avoid changing tunes just before the end of a dance.) Both fit the dance quite well because they have bouncy A parts (to correspond with all the balances and the swing) and smoother B parts (to go with the circles and do-si-dos. You can hear where the guitar rhythm sometimes (but not always) uses chops to accentuate the balances. Substituting different chords in the back-up also adds variety and gives the dance a different feel.

The second tune begins with djembe rhythm, then moves to guitar, first in a lower register and later higher up the neck. The droney minor chords and falling base line lend themselves well to building dynamically and adding excitement and energy for the dancers.

Again, this recording was made directly from the PA head so one doesn't hear much of the dancers. At the end, the caller invites the dancers to move up toward the band, which is fun for all involved.