Contra dance is a vibrant and social folk dance enjoyed by people of all ages and backgrounds. Like any dance form, contra dancing has its own unique vocabulary. Understanding these Dance Terms is essential for beginners to quickly grasp instructions and fully enjoy the dance. This guide will walk you through the fundamental dance terms you’ll encounter in contra dancing, making your first steps onto the dance floor confident and fun.
Basic Formations and Set-Up
Contra: Derived from the French word for “opposite,” ‘contra’ describes the fundamental set-up of this dance. Dancers begin by forming two long lines facing each other. Typically, in a proper set, gentlemen line up on the left and ladies on the right, when facing the band. Your partner stands directly opposite you in the other line.
Top (of the hall): This refers to the end of the dance hall that is closest to the band or musicians. Instructions may refer to moving “up the hall” (towards the top) or “down the hall” (away from the top).
Hands Four: After the long lines are formed, the top four dancers (two couples) initiate the dance by forming a small circle of four. They join hands with those immediately next to them to create this circle. The rest of the dancers in the line will follow suit as the dance progresses down the hall.
Opposite or Neighbor: In the context of a ‘hands four’ circle, your “opposite” or “neighbor” is the person of the opposite gender in your circle who is not your partner. This is a key relationship in many contra dance figures.
Number Ones (Active Couples): These are the couples who initiate the dance sequence. Starting from the ‘top’ of the long lines, the first couple in each line are designated as ‘Number Ones’. After forming the initial ‘hands four’, Number Ones will have their backs to the band and actively lead the dance down the hall.
Number Twos (Inactive Couples): Following the ‘Number Ones’ are the ‘Number Twos’ couples. They face the band and are considered ‘inactive’ initially, responding to the movements initiated by the Number Ones. Number Twos progress up the hall as the dance continues. Couples will typically switch sides of the set (gentleman on the left, lady on the right) when reaching the top or bottom of the hall to continue dancing.
Proper: As mentioned earlier, ‘proper’ refers to the traditional starting formation with gentlemen in the left line and ladies in the right line when facing the band.
Improper: This formation deviates from the traditional ‘proper’ set-up. In an ‘improper’ formation, the #1 couples begin crossed over, meaning they have exchanged lines. The dance caller will clearly indicate if an ‘improper’ formation is required for a particular dance.
Becket Formation: A variation of the standard contra line formation. It’s created after a ‘hands four’ is formed and then the set is rotated one position to the left (clockwise). This results in a slightly different partner orientation for certain dance figures.
Fundamental Contra Dance Movements
Long Lines Forward & Back: This is a basic movement where both lines of dancers walk towards each other for four steps, and then walk back to their original positions in four steps. This often serves as a starting or connecting figure in a dance sequence.
Circle (Left or Right): Dancers join hands in their ‘hands four’ circle or a larger circle, and then move together in a circle to the left (counter-clockwise) or right (clockwise) as directed by the caller.
Star (Left or Right): A ‘star’ involves dancers moving into the center of their ‘hands four’ and forming a star shape by placing a designated hand (left or right) on the wrist of the person in front of them. They then circle around in a star formation either left or right.
Allemande (Left or Right): An ‘allemande’ is a turn with another dancer. You join designated hands (left or right) with the specified dancer, using a firm handshake grip, and rotate around each other once. It’s important to maintain a firm but not forceful hand connection.
Gypsy: Similar to an allemande, but performed without hand contact. Dancers face each other, maintain eye contact, and move around each other in a circle. This movement sometimes encourages playful interaction or flirting.
Do-Si-Do: In a ‘do-si-do’, dancers pass right shoulders with each other, move around behind each other back-to-back, and then return to place passing left shoulders. Some dancers may add optional spins or flourishes during this movement.
See-Saw: A ‘see-saw’ is similar to a ‘do-si-do’ but starts by passing left shoulders and moves in a counter-clockwise direction.
Balance: A ‘balance’ is a simple step in place. You step onto your right foot for two counts and then onto your left foot for two counts, often rocking slightly back and forth. This step frequently precedes a swing.
Swing: A ‘swing’ is a partnered turn. Dancers take a ballroom dance position with their right hips almost touching. They walk around each other in a clockwise direction. Maintaining eye contact helps prevent dizziness. More experienced dancers may add speed and a “buzz step” (pivoting on the right foot) to their swing. A swing always concludes with the lady on the gentleman’s right.
Ladies Chain: In a ‘ladies chain’, ladies move across the set. Ladies offer their right hand to the lady opposite them, pull past each other, and then give their left hand to the opposite gentleman who then gives a ‘courtesy turn’. A ‘full chain’ involves this process being repeated back to the starting position.
Courtesy Turn: A ‘courtesy turn’ is a graceful turn given to a lady by a gentleman. The gentleman uses his left hand to take the lady’s approaching left hand and gently guides her counter-clockwise to his right side. Simultaneously, the lady places her right hand behind her back to connect with the gentleman’s right hand. A common variation includes both dancers raising their left hands, allowing the lady to twirl clockwise if she chooses. The lady signals her intention to twirl (or not) by keeping her left hand up (or down). This entire movement is typically completed within four beats of music.
Right and Left Through: In a ‘right and left through’, both the gentleman and lady move across the set to exchange places with the opposite couple. They pass right shoulders (or pull by right hands) with the opposite person, followed by a ‘courtesy turn’ from the opposite gentleman for the lady.
Hey: A ‘hey’ is a weaving movement across the set. Dancers walk across the set, passing people by alternating shoulders (right, then left, then right, etc.) until they reach the end of the line. They then loop around the last person and re-enter the ‘hey’ pattern, passing the next person with the opposite shoulder they used previously. Generally, you pass same-sex dancers with the right shoulder and opposite-sex dancers with the left shoulder. If confused during a ‘hey’, the best approach is often to simply reverse direction and return to your starting point if it’s meant to be a ‘full hey’.
Promenade: In a ‘promenade’, partners join both hands – right hands and left hands – either in a skater’s position (hands low) or raised to shoulder height. They then walk or skip together in a circle or as directed by the caller.
California Twirl: A ‘California twirl’ is a quick way for partners to change sides and direction. The gentleman raises their joined inside hands (right hands together, or left hands together), and the lady walks under the raised arms to switch sides and reverse direction.
Box the Gnat: In ‘box the gnat’, the lady and gentleman take right hands, balance, then raise their joined hands. The lady then walks under their joined hands to switch places with the gentleman.
Cast Off: Starting from the center of the set, each active dancer (Number Ones) moves forward three-quarters of a turn to progress one position down the set. The active dancer typically then connects with the inactive dancer (Number Two) and they rotate as a pair. However, in some dances, the inactive dancer may need to follow the active dancer, or even remain stationary, depending on the specific choreography.
Conclusion
Understanding these dance terms is your first step to confidently enjoying contra dancing. While it might seem like a lot to remember at first, many of these terms will become intuitive as you experience them on the dance floor. Don’t be afraid to ask your dance caller or experienced dancers for clarification – the contra dance community is known for being welcoming and helpful. So, get ready to step into the lively world of contra dance with your newfound dance vocabulary!
