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In order to keep my main page of dances less intimidating, I've dumped many of my creations onto this secondary page. Let me know if you really like any of these.
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Not a popular form for today's zesty contra crowd, partly because they're mixers, and partly because they're simple.
They're simple for several obvious reasons: fewer possible figures, and with two people in the minor set, fewer permutations of dancers. And they're typically used as teaching dances. There's also a more subtle issue. In a contra, you and your partner usually progress as a couple, so an experienced dancer can guide a newer partner. But in a circle mixer, every dancer is on their own, and must be able to progress on their own merits. This means that for a given difficulty level, circle mixers should inherently be more forgiving.
While one would think most of the good circle mixers have already been written, I'm getting suspicious it's just not so. The line between circle mixer and contra choreography is thinner that you'd think.
Eleanor's MixerA1 Balance wave of two with partner P1 Forward on the right diagonal to left-handed wave of two with partner P2 [2] Balance wave of two with partner P2 Forward on the left diagonal to right-handed wave of two with partner P3 [3] A2 Balance wave of two with partner P3 Partner P3 swing B1 Circle left [4] Partner P2 swing B2 Partner P2 promenade counterclockwise Gents let go of left hand, ladies turn around to form two-person waves [5]
An adaptation of "Eleanor's Reel" by Bill Olson. It didn't start that way, but when I came up with the A1 action I kept pushing in the same direction. This version doesn't have triple progression, but there's ways to sneak it in.
Grand Right and Left MixerA1 Forward and back Corner (P0) seesaw [1] A2 Corner allemande left 1 [2] Grand right and left past four (P1r, P2l, P3r, P4l) B1 New partner P5 right-hand balance Same person swing B2 Partner P5 promenade counterclockwise [3]
A forgiving way to teach grand right and left in circle mixer form. I expect someone else has already written this dance.
Ladies Chain Circle Mixer(starts in circular wave, gents face out, right hand to P2, left hand to P1) [1] A1 Balance circular wave, then face partner P2 [2] Partner P2 box the gnat [3] Partner P2 pull by right Partner P1 courtesy turn [4] A2 Ladies individually weave counterclockwise around set: in front of partner P2, then behind P3 [5] Forward and back B1 P3 partner balance [6] P3 partner swing B2 P3 partner promenade Release left hands, form circular wave keeping right hand with P3, taking left hand with P2 [7]
A ladies chain can be thought of as two two-person figures duct-taped together: a pull by right, and a courtesy turn. And if you have the gents take the role of the ladies for the first part, you've got something that feels a lot like a ladies chain, yet in a circle mixer format.
This dance is probably more difficult than you think. Ladies change directions three times in the first part of the dance: they move counterclockwise for the box the gnat, clockwise for the ladies chain, and then counterclockwise for the weaving. Gents change direction only two times, as they're stationary during the weave.
After writing this mixer, I created the contra version: "Chain the Corner."
Mash-Up MixerA1 Balance circular wave Slide right [2] Balance circular wave Slide left A2 Partner balance Partner swing B1 Partner promenade B2 Ladies go forward and back Gents go forward, turn alone, return to circular wave (right hand to new partner)
Written in a moment of desperation, when none of the circle mixers seemed to fit. Both "Love and Kisses" and "Old Bob's Mixer" were too complex for the crowd, so this is the dance I came up with during the final tune of the previous contra. (The original version had all forward and back rather than ladies forward and back in the B2.)
Waiting in the Swings
A1 (8) Forward and back
(4) Circle left
(4) Gents roll away partner P2 [1]
A2 (4) Circle left
(4) Gents roll away partner P3
(8) Partner P4 swing
B1 Partner P4 promenade counterclockwise
B2 Ladies turn over right shoulder
Pass partner P3 by left
Partner P2 swing
This is the remnants of a four-face-four I tried writing.
Ideally the A and B musics should sound significantly different to reduce the chance of confusion between the two swings.
A1 Scatter promenade individually, then start picking up other people and scatter promenade as lines [1] A2 Circle left Basket swing [2] B1 Circle left Balance ring Petronella turn B2 Balance ring Petronella turn Balance ring Petronella turn 1 & 1/2, face out
Here, not only are people scattering, but so are lines.
This dance is completely gender role independent.
Star StuffA1 Individually scatter promenade Swing someone A2 Scatter promenade as couples [1] [2] B1 (8) With some (1-4) other couples, gents star left, while still promenading partner [3] (8) Counterclockwise butterfly whirl N+1/2 times (Gents back up, ladies go forward) [4] B2 (8) Ladies star promenade right with partner (~7) Clockwise butterfly whirl (Ladies back up, gents go forward) (1) Gents go forward, ladies turn over right shoulder
The next evolutionary step after "Accretion Reel."
Since writing this, I've learned of callers who finish the square "Texas Star" by turning it into a scatter mixer. Which just proves the wheel keeps getting re-invented.
See also:
A1 Long lines forward and back Ones partner balance (gent's left hand, lady's right) Ones twirl to swap [1] A2 Ones with lady two circle left 3/4 [2] Ones arch, pop lady two under to her partner [3] Partner swing B1 Ladies chain Star left [4] B2 Neighbor right shoulder round Neighbor swing
Written after watching a video of "Three's Crowd" by Lisa Greenleaf. That dance (a variant of "Three's Company" by Paul Balliet) had a lot of very tall gents trying to duck under the arch. Which got me thinking -- why not have the ladies go under? I kept changing and modifying the dance until I arrived at something very different from the original.
This dance is tweakable. Remove the long lines for a longer partner swing. Or for a double progression variant, make the B2 swing with new neighbors.
The unusual A1 (rather than long lines, ones swing) was done to improve the circle left/swing transition for the ones in the A2. The B1 was chosen to give some counterclockwise motion.
Low ClearanceA1 Neighbor do-si-do while ones arch [1] Neighbor do-si-do while twos arch [2] A2 Neighbor balance Neighbor swing B1 Gents allemande left 1 & 1/2 Partner swing B2 Circle left 3/4 Balance ring Partner California twirl
Written while watching a video for "The Slinky Walk," remebering it's easier for one person to fit under an arch than two.
It's still hard for tall people, so the arch may sometimes need to be a drawbridge.
The Slinky Walk [1]
A1 Shift left
Circle left 3/4
Neighbor swing
A2 Ladies chain
Star left 1
B1 Colonnade --- while the ones arch: [2] [3]
(4) Ladies trade by left (L2 goes under the arch)
(4) Gents trade by left (G2 goes under the arch)
(4) Ladies trade by left (L2 goes under the arch)
(4) Gents trade by left (G2 goes under the arch)
B2 Partner balance
Partner swing
Inspired by the Moose Flores dance, "Star Colonnade 0.2". I thought the main figure had strong potential, especially the pattern for the ones. And I liked the entries and exits to the figure, so I just rewrote the dance to create a simpler version with a neighbor swing. The real work on this dances was done by Moose. See his teaching notes here.
See also:
A1 Long lines forward and back [1] Gents allemande left 3/4 [2] Next gents allemande right 3/4 [3] A2 Neighbor N2 balance Neighbor N2 swing [4] B1 Ladies chain to shadow Circle right 1 with shadow [5] B2 Circle left 1/2 with partner Partner swing
I couldn't recall the circle left/circle right transition in "Momma Loo's Reel" being used as a reunion device. So I perpetrated this dance. The steal of the signature move from "Mary Cay's Reel" was happenstance -- it seemed a clean way to set things up while trying to minimize the confusion.
The circle left is only 1/2 instead of once around to give more recovery time.
This dance has several end effects, though they're fairly standard. Be alert.
Quite RightA1 Gents allemande left 1 & 1/2 Neighbor swing A2 1/2 hey (Gl,Pr,Ll) [1] Neighbor N2 counterclockwise two-hand turn 1 & 1/2 [2] B1 Circle right 3/4 [3] 1/2 hey (Pl,Lr,N2l,Gr) B2 Partner balance Partner swing
A clockwise two-hand turn is rare enough. (Usually because it can just be replaced with a swing.) I don't recall any dances with an isolated counterclockwise two-hand turn, so this is my attempt at such.
This is more difficult than it looks. The conventions are unusual -- not just the counterclockwise two-hand turn, but also ladies leading the entry into the circle, and the curl into the hey.
VisionsA1 Shift left Circle left 3/4 Neighbor swing A2 Long lines forward and back Mad robin counterclockwise (ladies in front)[1] B1 Circle right 7/8, gents step in front of partner [1] 1/2 hey (Pl,Lr,Nl,Gr) B2 Partner balance Partner swing
A1 Ladies allemande right 1 & 1/2 Neighbor swing A2 Ladies chain Circle right 1 B1 Shift right [1] Circle right 3/4 with N2 [2] Gents seesaw 1 & 1/2 [3] B2 Partner balance [4] Partner swing
A mirroring of the key circle/shift/circle figure from "The Rendezvous." The seesaw is meant to mirror the ladies' do-si-do, though you could just as well do a gents allemande left 1 & 1/2.
As indicated above, this is a good dance to encourage ladies to practice leading entries into figures.
See also:
A1 Ladies pass right shoulders
Neighbor allemande right 1/2 to long wave, ladies face in [1]
Balance long wave [2]
Box circulate [3]
A2 Balance long wave
Box circulate [4]
Neighbor swing
B1 Circle left 3/4 to short wave of four [5]
Balance wave of four
Box circulate on diagonal (Ladies loop right to partner's
place. Gents go forward on right diagonal to other
side of next wave to opposite role neighbor N2's
place) [6]
B2 Balance wave of four [7]
Box circulate on diagonal (Gents loop right, while ladies
go forward on right diagonal to partner's place)
Partner swing [8]
First written while trying to go to sleep, imagining the the box circulate from Steve Schnur's "The 24th of June" perpendicular to its normal axis, as in Robert Cromartie's "Mad About Dancing" B2. Followed shortly by realizing it didn't work, then why (it has to be done with neighbors), and figuring out it could work on a sharp diagonal. And after that a few more months gestating while I tried to find the best moves for the top of A1 and B1.
See here for a variant.
Kitty-Corner
A1 Circle left 3/4
Neighbor swing
A2 Gents allemande left 1 & 1/2
Partner allemande right 1 & 1/2 to wave of four
B1 Balance wave of four
Box circulate on diagonal (Ladies loop right to partner's
place. Gents go forward on right diagonal to other side
of next wave to opposite-role neighbor N2's place) [1]
Balance wave of four
Box circulate on diagonal (Gents loop right, while ladies
go forward on right diagonal to partner's place) [2]
B2 Balance wave of four [3]
Partner swing
My "simplification" of "24/7."
There's a more complex untested single progression version, where the only differences is you shift left before circling:
Net single progression [4]
A1 Shift left
Circle left 3/4 with N0
Neighbor N0 swing
A2 Gents allemande left 1 & 1/2
Partner allemande right 1 & 1/2 to wave of four
B1 Balance wave of four
Box circulate on diagonal (Ladies loop right to partner's
place. Gents go forward on right diagonal to other side
of next wave to opposite role neighbor N1's place)
Balance wave of four
Box circulate on diagonal (Gents loop right, while ladies
go forward on right diagonal to partner's place)
B2 Balance wave of four (with N2)
Partner swing
This complicates the end effects by kicking out couples multiple times, with the double forward/single back progression. Use with caution.
Out of CirculationA1 Balance long waves Box circulate [2] Balance long waves Box circulate [3] A2 1/2 hey (Ll,Pr,Gl) Neighbor swing B1 Circle left 3/4 Partner swing B2 Ladies chain Star left 1 to long waves [4]
A1 Partner promenade, shift right to N2 [1] Star left 1, form long waves [2] A2 Balance long waves Box circulate (with shadow) [3] Balance long waves Box circulate (with shadow) [4] B1 Balance long waves Box circulate (with shadow) [3] Neighbor swing [5] B2 Circle left 3/4 [6] Pass through [7] Partner swing
Thank you to Seth Tepfer for testing this one at the 2020 Supersonic Contra Dance weekend in Seattle.
Video: (#1)
Rounding ThirdA1 Long lines forward and back while gents roll away partner [1] 1/2 hey to long waves (Gr,Nl,Lr,Pl) [2] A2 Balance long waves (Left) box circulate [3] Balance long waves (Left) box circulate [4] B1 Balance long waves (Left) box circulate [3] Neighbor N2 swing [5] B2 Gents allemande left 1 & 1/2 Partner swing
An experiment of circulate to swing the next. The left circulates will be as confusing to experienced dancers as a circle right -- best to emphasize the loop to the left in the walkthrough and early prompting, along with who's facing in/out.
The WraparoundA1 Balance long waves [2] Box circulate [3] Partner swing A2 Gents allemande left 1 & 1/2 Neighbor swing B1 Long lines forward and back Ladies chain B2 Star left 1 to long waves [4] Balance long waves Left box circulate [5]
An experiment with circulate in one hands four to circulate with the next.
See also:
A1 Slice left [1] Ladies chain A2 Crosstrails through (Pr,Nl) [2] Neighbor N0 swing B1 Crosstrails through (Pr,N0l) [3] Neighbor N1 swing B2 Circle left 3/4 Partner swing
While you leave the minor set, all progressions are with the gent on the left, lady on the right.
Trail MarkersA1 Promenade Ladies chain A2 Crosstrails through (Pr,Nl) [1] Neighbor N2 swing B1 Gents allemande left 1 & 1/2 1/2 hey (Pr,Wl,N2r,Ml) B2 Partner right shoulder round Partner swing
Written as a simple crosstrails through dance.
Video: (#1)
Trail to the StarsA1 Ladies chain 1/2 hey (Lr,Pl,Gr) A2 Neighbor balance Neighbor swing B1 Crosstrails through (Pr,Nl) [2] Star right 1 & 1/4 with N2 [3] B2 Shadow left shoulder round [4] Partner swing
I've never been happy with crosstrails through timed at four or eight beats. This dance is my attempt to split the difference.
See also:
A1 Neighbor balance Neighbor swing A2 Down the hall in a line of four, face across Ladies chain B1 Ladies allemande right 1 [1] Partner swing B2 Up the hall in a line of four, face across Circle left 3/4 Pass through to next
The first dance I ever wrote on request. One of our local callers, JoAnn Koppany, was planning on calling an all-California-callers program of dance for her Shepherdstown, WV gig. And she was looking to fill a second-slot hole that included a down-the-hall, didn't start with a neighbor balance or do-si-do, was improper, symmetric, didn't have a circle left, couldn't have a full ladies chain, included a neighbor and partner swing, was simple, and also original from all other dances. After two bad attempts, I wrote the above, except starting with a neighbor right shoulder round, and ending with a partner promenade three-quarters around, facing the next. (That version is called "Shepherdstown Special.") But I think the above version is cleaner.
This dance requires more room below than a standard down-the-hall dance, because after going down the hall you need room to do contra figures. You can't just have the lines pile up in a sandwich against the back wall.
Videos: (#1) (#2) (#3) (#4) (#5)
Loops and LinesA1 Down the hall in a line of four [1] Circle right 1 [2] A2 Up the hall in a line of four Circle left 1 B1 Neighbor do-si-do Neighbor swing B2 Long lines forward and back Ones swing, face down
Inspired by dances like "Hickman's Hey," and other more obscure ones.
See also:
Go With the FlowA1 Slice left [1] Gents allemande left 1 & 1/2 A2 Neighbor balance Neighbor swing B1 Balance ring Ladies roll away neighbor [2] Balance ring Ladies roll away partner [3] B2 Facing star clockwise 3/4 (Gr,Ll) [4] Partner swing
The name comes from the fact that gents weren't going willing in the roll aways, but instead making ladies do all the work. So it turned into a teaching point.
There's also a twin dance:
ImproperA1 Long lines forward and back Gents allemande left 1 & 1/2 [1] A2 Partner balance Partner swing B1 Balance ring Ladies roll away partner [2] Balance ring Ladies roll away neighbor B2 Facing star clockwise 3/4 (Gr,Ll) [3] Neighbor swing
A1 Facing star clockwise 1 with N1 [1] Facing star counterclockwise 1 with N0 [2] A2 Neighbor N1 right shoulder round Neighbor N1 swing B1 Gents allemande left 1 & 1/2 Partner swing B2 Circle left 3/4 Balance ring California twirl
The A1 requires significant teaching.
First, the gents back up in both facing stars. Some will go by habit, and try and force the second facing star the other way. I've had to re-emphasize it during the prompting.
The second issue is the hand changes between the facing stars. The pair of hands in the center of the old facing star becomes the pair of hands you've got with your partner -- connect those hands, and bring them between you. The pair of hands you had with your partner becomes the pair of hands in the center of the new facing star.
The title is a portmanteau of lemniscate and skating.
Quality TimeA1 Facing star clockwise 3/4 [2] Partner swing A2 Long lines forward and back Ladies allemande right 1 & 1/2 B1 Neighbor balance Neighbor swing B2 Promenade [3] Balance ring Partner twirl to swap [4]
Experimentations with entries into a facing star.
Stellar EvolutionA1 Hands-across star right 1 Balance star Ladies slide right [1] A2 Facing star clockwise 1 [2] Partner swing B1 Circle left 3/4 Neighbor swing B2 Long lines forward and back Star left 1
Not an original idea (see "Thimble Mill" by John Meechan, or "A Midsummer Night's Dream" by Martha Wild), but this is my take on it.
Unfortunately kind of clockwise.
See also:
A1 Grand right and left: Neighbor (same-role) N1 pull by right Neighbor N2 pull by left [1] Neighbor N3 pull by right Neighbor N4 allemande left 1 Neighbor N3 pull by right Neighbor N2 allemande left 1/2 to long waves [2] A2 Balance wave Box circulate (second corners cross) [3] Partner swing B1 Gents allemande left 1 & 1/2 Neighbor N1 swing B2 Ones half figure eight up [4] Neighbor (same-role) N2 do-si-do [5]
I was toying around with proper dances, and which figures felt different with same-role neighbors. A grand right and left seemed suitable, and the framework of "Whoosh" turned out to be a near-perfect fit.
The end effects are dangerous. When your number changes, so does your direction in the wave, and the people who cross. If dancers keep acting out their original roles, things will go badly, as there's no huge recovery spot. It may be worth emphasizing.
Video: (#1)
Mostly DancedA1 Grand right and left (N1r,N2l,N3r) [1] Neighbor N4 allemande left 1 Neighbor N3 pull by right Step to a wave with N2 (N2l, Lr in middle) [2] A2 Balance wave of four, face neighbor [3] 3/4 hey (N2l,Gr,Pl,Lr,N2l,Gr) B1 Partner balance Partner swing B2 Circle left 3/4 Neighbor N2 do-si-do [4]
See also:
A1 Gents walk forward to long wave in center Gents balance long wave Gents back out while ladies walk forward to long wave in center Ladies balance long wave A2 Hey (Pr,Gl,Nr,Ll,Pr,Gl,Nr,Ll) [1] B1 Partner right shoulder round Partner swing B2 Circle left 3/4 Neighbor swing
The original inspiration for this dance was "Robins on a Wire" by Will Mentor. There were drastic changes during the dance design phase.
This dance is rather clockwise. It's also a very partner-focused dance.
Carol's ReelA1 Neighbor allemande left some amount (8) Neighbor allemande right some other amount (8) [1] A2 1/2 hey (?l in center, ?r on sides, ?l in center) Neighbor swing B1 Circle left 3/4 Partner swing B2 Gents chain [2] Star right 1
This was a rewrite of the idea behind Dan Pearl's "Hey for Who?" In that dance, there was only a single allemande for eight beats, which made it hard to vary the entry. This dance provides more opportunities to change the hey entry, at the cost of half the hey. (There are versions of this dance that have a full hey, but either they lack any neighbor interaction, or have a bad transition for lady one.)
It's named for Carol, a dancer who made a memorable impression on San Diego before she left for the wintry hinterlands of Michigan.
The Contra Matrix ResolutionA1 Hands-across star left 1 [1] Ladies allemande left 1 & 1/2 A2 Partner right shoulder round [2] Partner swing B1 Circle left 3/4 Neighbor swing B2 Hey (Gl,Pr,Ll,Nr,Gl,Pr,Ll,Nr)
Inverting the key transition of "Washington Hey." There's a story behind the name, which I hope to tell in a few months.
Video: (#1)
Courtesy Break
A1 Neighbor courtesy turn [1]
3/4 hey (Lr,Pl,Gr,Nl,Lr)
A2 Partner balance
Partner swing
B1 Gents allemande left 1 & 1/2
Neighbor swing
B2 Hey (Gl,Pr,Ll,Nr,Gl,Pr,Ll,Nr) [2]
The first draft of this dance had the 3/4 hey in the B2 and the full hey in the A1. Unfortunately that made the dance indecent, and made the progression a lot more ... difficult.
Inspired by all the Al Olson dances in Give and Take than finished with a 3/4 hey, courtesy turn. That sequence could just as easily be half hey, ladies chain. So I looked for a combination that wasn't so easily replaced.
ElationA1 Partner promenade, shift right to N2 [1] Hands-across star left 1 A2 Ladies allemande left 1 & 1/2 Neighbor N2 allemande right 1 & 1/2 B1 1/2 hey (Gl,Pr,Ll) [2] Neighbor N2 swing B2 Circle left 3/4 Partner swing
A riff on "Jubilation" by Gene Hubert.
The First StrawA1 Ladies pass left Partner right shoulder round Partner swing A2 Gents pass left Neighbor right shoulder round Neighbor swing B1 Long lines forward and back Right and left through (Pass through across, California twirl) B2 Circle left Star left
Spurred by thinking about doing quarter-heys as swing entries.
Thank you to Martha Wild for noting that a right shoulder round in the A1 would help get the gents in the right place, squared off from the other couple.
Video: (#1)
Hey RollersA1 Neighbor balance Neighbor swing A2 Ladies roll away neighbor [1] 3/4 hey (Ll,Pr,Gl,Nr,Ll) B1 Partner right shoulder round Partner swing [2] B2 Gents allemande left 1 & 1/2 Star left 1 [3]
A second-generation dance rewrite experimenting with the swing to roll-away transition that I first encountered in Susan Sterne's "After Dinner Roll." One curious thing about this transition is it effectively ends the swing with the gent on the right.
Sneaker Reel 2A1 Balance long waves [1] Circulate (Ladies cross, gents loop right) [2] Partner swing A2 Hey (Gl,Nr,Ll,Pr,Gl,Nr,Ll,Pr) B1 Gents pass left Neighbor swing B2 Right and left through Star left 1 to long waves [3]
A rewrite of one of my earliest dances, "Sneaker Reel." (Original is here.) This removes the double progression, so you interact with all neighbors.
Take Some of the CreditA1 Long lines forward and back [1] Circle left 3/4 to wave of four [2] A2 Balance wave of four 1/2 hey (Pr,Ll,Nr,Gl) [3] Balance wave of four [2] B1 1/2 hey (Pr,Ll,Nr,Gl) Partner swing B2 Gents allemande left 1 & 1/2 Neighbor swing
A variant of "Take All of the Credit and None of the Blame" by Larry Edelman and Nancy Donahue. I was unhappy with the A1, which had a wave of four and then a quarter hey, potentially being confused with the full half heys in the main figure. And I patched in a neighbor swing.
Video: (#1)
Yours TrulyA1 Neighbor N0 left shoulder round 1 [1] Neighbor N1 swing A2 Gents allemande left 1 & 1/2 Partner swing B1 Long lines forward and back Ladies chain B2 1/2 hey (Lr,Pl,Gr) Neighbor N2 right shoulder round 1 [2]
My experimentation with the shoulder-round/shoulder-round on the side transition. There's also a simpler variant that swaps the order of the right/left shoulder rounds:
A1 Neighbor N1 right shoulder round Neighbor N1 swing A2 Gents allemande left 1 & 1/2 Partner swing B1 Long lines forward and back Ladies chain B2 1/2 hey (Lr,Pl,Gr) Neighbor N1 left shoulder round 1 & 1/4
See also:
A1 Gents allemande left 1 & 1/2 Neighbor swing A2 Circle left 1 Neighbor N1 pull by right Neighbor N2 courtesy turn [1] B1 Ladies chain to partner 1/2 hey (Lr,N2l,Gr) B2 Partner balance Partner swing
The indecent progression creates a longer courtesy turn in the A2.
This was the dance that developed from "Ladies Chain Circle Mixer." The untested complex extension of this is "Chain the Triangle." See also "A Grand Day Out" for another take on this idea.
A Grand Day OutA1 Circle left 3/4 Neighbor swing A2 Long lines forward and back [1] Star right 1/2 [2] Neighbor N2 courtesy turn B1 Ladies chain (to partner) 1/2 hey (Lr,N2l,Gr) B2 Partner balance Partner swing
First inspired by a contra with the typo "ladies gr. ch. (over and back)". It obviously was a standard chain over and back, but I got to thinking, and wound up with something similar to "Chain the Corner."
Laddie's ChainA1 Slice left while gents roll away partner [1] Gents do a ladies chain to neighbor A2 Hey (Gr,Pl,Lr,Nl,Gr,Pl,Lr) B1 Neighbor balance Neighbor swing B2 Give and take to ladies' side (original side) [2] Partner swing
Nowadays with role-switching, having gents do the ladies chain is rather passe. But this is my attempt to make the move as forgiving as possible, as well as putting the courtesy turn with your neighbor. It wound up being very close to "Slice of Life" by Bob Isaacs.
There is also an untested twin dance:
A1 Slice left while ladies roll away partner Ladies do a gents chain to neighbor A2 Hey (Ll,Pr,Gl,Nr,Ll,Pr,Gl) B1 Neighbor balance Neighbor swing B2 Give and take to gents' side (original side) Partner swing
This one will be significantly more unusual, as gents chains are rarely done. You probably want to teach it carefully. (Personally, I like the Lisa Greenleaf teach of doing an allemande right with that person, and then turning it into the gents' courtesy turn on the fly.)
Stars in the BarnA1 Neighbor right shoulder round Neighbor swing A2 Ladies chain Star left 1, women turn around B1 Partner right shoulder round Partner swing B2 Ladies chain Star left 1
I wrote this years ago as a throw-away example of a repeated halves dance. Then I found myself occasionally programming it as a simple chain practice dance.
Vector AnalysisA1 Ladies chain [1] Ladies allemande right 1 & 1/2 A2 Neighbor balance Neighbor swing B1 Circle left 3/4 Partner swing B2 Balance ring Petronella turn Star left 1
The gimmick here is subtle. The whole point of the dance is the B2/A1 transition. The ladies chain starts with everyone facing up/down, and finishes with everyone facing across.
The first time I teach the dance, I have everyone facing across, indecent-fashion, and do the ladies chain from there. After the final star, I explain the dance starts again, with a ladies chain just as before, except you start from a different angle. Ladies right-hand turn each other just a little bit till you can face your partner. Gents use the forward momentum of the star to walk along the side of the set, meeting their partner for the courtesy turn. (Kind of like a regular ladies chain, where once the ladies pull by, the gents should sidestep into that lady's position.)
Yoiks and Away!
A1 (4) Balance wave of four [2]
(2) Pull by neighbor, walk forward to N2
(4) N2 neighbor courtesy turn
(6) N2 neighbor promenade across
A2 Ladies right shoulder round 1
N2 neighbor swing
B1 Circle left 3/4
Partner swing
B2 Gents allemande left 1 & 1/2
N2 neighbor allemande right 1 & 1/2 [3]
"Chain the Corner" has an indecent progression. Since end effects in gender free dancing can be trickier, this was my revision to make the progression the standard improper. An improper progression makes the courtesy turn on the side 180 degrees less than an indecent progression, so other timing changes also needed to be made.
The name comes from this scene, where our hero is launching into one plan only to immediately hit the unexpected. May your experience launching out of the wave of four go far better.
See also:
A1 Single file promenade clockwise 3/4, ladies turn around [1] Neighbor swing A2 Long lines forward and back 1/2 hey (Lr,Pl,Gr,Nl) B1 Mad robin (ladies in front) [2] Single file promenade clockwise 3/4 with N2, gents turn around [3] B2 Partner right shoulder round Partner swing
Experimenting with mad robin to circle transitions. Trouble is, somewhere along the line I lost the circle.
Squirrel!
A1 (6) Clockwise mad robin around neighbor [1]
(4) Single file promenade clockwise 1/4 [2]
(6) Clockwise mad robin around partner [3]
A2 Gents pass left
Neighbor swing
B1 Circle left 3/4
Partner swing
B2 Right and left through
Ladies chain
More experimenting with the timing of mad robin. Named for the A1 of the dance, where you suddenly switch your attention.
There's also a perfectly solid alternate second half:
B1 Gents allemande left 1 & 1/2 Partner swing B2 Long lines forward and back Ladies chain
Visiting a neighbor multiple times. It requires going forward to one neighbor, then back to a previous neighbor -- just progressing forwards multiple times in a dance is insufficient.
This can be as simple as allemande left neighbor 2, then coming back to swing neighbor 1. Or it can be an intricate storyline. Either way, it causes "interesting" end effects as people are pushed out at the top/bottom of the set multiple times.
See also:
A1 Gents trade places, passing right (shoulders) [1] [2] Ladies trade places, passing right [2] Neighbor N2 swing A2 Gents (same gents as A1) trade places, passing left [3] Ladies (same ladies as A1) trade places, passing left [3] Neighbor N0 swing B1 Gents (same gents as A1) allemande left 1 & 1/2 [4] Partner swing B2 Circle left 3/4 Balance ring California twirl
This dance has some interesting end effects. If couples out at the ends trade sides immediately after the California Twirl, they face the confusion of same-role swings. To avoid this, I warn that couples out at the ends should adapt to the needs of those dancing in the set. (The technical solution is to not cross over until the B1 partner swing.)
This is my adaptation of the ECD dance "Gentleman's Delight" by Philippe Callens. I took his A1/A2, and replaced the lead outs with swings. The rest was rewritten to add the partner swing and appropriate progression.
Structurally this dance is also very close to "Flip Flop Frenzy" by Gene Hubert.
Jam DoodleA1 Neighbor N1 allemande right 1 & 1/2 Neighbor N2 allemande left 1 & 1/2 A2 1/2 hey (Lr,Pl,Gr) [1] Neighbor N1 swing B1 Gents allemande left 1 & 1/2 Partner swing B2 Ladies chain Star left 1
Dancers progress forwards twice, then backwards once. Re-entry is always with the standard gent on the left, lady on the right, so couples out for the first part of the A2 should switch sides quickly.
Written by free-association while listening to a late-night jam session during the 2010 Dance in the Desert. The first pass through the music didn't have a partner swing. This was the second pass.
Jughandle JauntA1 Neighbor N1 pass left Neighbor N2 swing A2 Circle left 3/4 Partner swing B1 Right and left through with partner Ladies chain to neighbor N2 B2 Star left 1 with N2 [1] Square through 3 with N1 (N1r,Pl,N1r) [2]
More free-association choreography and messing with no-balance square throughs.
Because of the double progressing forwards and single progressing back, this dance is harder than it looks. At the ends, always re-enter by trading places with your partner so the gent's on the left, lady's on the right.
Named for a "special" feature of New Jersey driving, the jughandle, a curved side road you need to traverse to make a u-turn.
Successfully tested by Seth Tepfer in June of 2023.
Return EngagementA1 Left diagonal right and left through [2] [3] Circle left 3/4 with N3 Pass through (right shoulders with N3) A2 Neighbor N2 balance Neighbor N2 swing B1 Ladies chain 1/2 hey (Lr,N2l,Gr) B2 Partner balance Partner swing
Video: (#1)
See also:
A1 Gents allemande left 1 & 1/2 Neighbor swing A2 Long lines forward and back Left diagonal ladies chain to shadow B1 Hands-across star left 1 Ladies allemande left 1 & 1/2 while gents orbit clockwise 1/2 [1] [2] [3] B2 Partner right shoulder round Partner swing
There is an alternate version where ladies orbit around the gents, becoming a counterclockwise Becket dance. In the A2, the ladies would chain on the right diagonal. In the B1, gents allemande left 1 & 5/8 while the ladies orbit clockwise slightly more than 1/2.
This could also be a blues-length contra by removing the long lines and partner right shoulder round.
This dance was inspired by my misinterpretation of "Planetary Convergences" by John Nance.
Chasing AaronA1 Ones right shoulder round 1/2 [1] Ones orbit counterclockwise 1 around stationary twos [2] A2 Ones right shoulder round Ones swing [3] B1 Balance ring Petronella turn Partner swing [4] B2 Give-and-take to lady's side Neighbor swing
An auction dance won by Aaron Michelson at the 2020 Labor Day Dance Away camp in Julian, CA. He wanted a long chase led by the gent, and a give-and-take led by the lady. This resulted in a three-swing dance.
If you had long contra lines, you could alternate the dance between ones and twos.
Thank you to Frannie Marr for testing this one.
A1 Pass through to a wave of four [1] Neighbor allemande right 1/2 Ladies allemande left 1/2 Partner swing [2] A2 Pass through to a wave of four [3] Partner allemande right 1/2 Gents allemande left 1/2 Neighbor swing B1 Right and left through Star left 1 B2 Neighbor N2 do-si-do Circle left 1 [4]
A1 Neighbor right shoulder round Neighbor swing A2 Promenade Pass through to a wave of four [2] Neighbor allemande right 1/2 Gents allemande left 1/2 B1 Partner right shoulder round Partner swing B2 Promenade Pass through to a wave of four Partner allemande right 1/2 Gents allemande left 1/2 Walk forward to N2
More experimenting with "Hay in the Barn" alternates.
Tacking AboutA1 Pass through (pass neighbor by right) (along the set), face across [1] Right and left through [2] 1/2 hey (Lr,Pl,Gr) A2 Neighbor balance Neighbor swing B1 Circle left 3/4 Partner swing B2 Partner promenade [3] Circle right 3/4 Pass through by left
More experimenting with pass the ocean.
See also:
A1 Balance ring Petronella turn Balance ring Petronella turn A2 Balance ring Neighbor swing B1 Gents allemande left 1 & 1/2 Partner swing B2 Ladies chain Long lines forward and back while gent one rolls away neighbor N2 [1]
A novelty dance, where you can look directly at your partner during the petronella ring balances.
Hidebehind ReelA1 Circle left 3/4 Partner allemande right 1 & 1/2 A2 Shadow allemande left 1 & 1/2 Ladies chain B1 Balance ring Petronella turn 1 & 1/2 [3] Partner swing B2 Balance ring Petronella turn 1 & 1/2 [3] Neighbor N2 swing
What makes this dance challenging is the end effects. In some places you come in with the gent on the right, and in some places with the lady on the right, and I've yet to find any convenient rules. The best I can do is to tell the dancers that the people at the ends need to adapt to the people inside the dance, as the people inside the dance know better what they're doing.
(If couples at the ends force people in the dance to adjust/cross over for them, the result will at best be dancers staying out at the end multiple times through the dance.)
Written as a " 'Fiddleheads' for everyone, all the time" type of dance.
Meet and GreetA1 1/2 hey (Ll,Pr,Gl) [1] Neighbor swing A2 Circle left 3/4 Partner swing B1 Balance ring Petronella turn Balance ring Petronella turn B2 Balance ring Petronella turn Neighbor allemande left 1 & 1/2
For me, the most interesting part of this dance is the B2/A1 transition.
Pinball PetronellasA1 Gents allemande left 1 & 1/2 [1] Neighbor right-hand balance Two-person petronella turn 1 & 1/2, face N2 [2] A2 Neighbor N2 right-hand balance [3] Two-person petronella turn [4] 1/2 hey (N2 pull by l,Lr,Pl,Gr) B1 Neighbor N2 balance Neighbor N2 swing B2 Circle left 3/4 Partner swing
I've been interested in the two-person Petronella figure as first used in modern contras in "Country Doctor's Reel." It's inspired a few others -- I'm aware of "What's Up Doc?" by Ron Buchanan, and "Fiona Storming Across Asia" by Susan Kevra. This is my contribution -- adding the "Fiddleheads" effect of petronella turns into another minor set.
RecombobulatedA1 Shift left Circle left 3/4 Neighbor swing A2 Balance ring Petronella turn Balance ring Petronella turn B1 Hands-across star left 1 Gents allemande left 1 & 1/2 B2 Partner right shoulder round Partner swing
Another usage of the petronella/star left transition, which I think was introduced by Jim Kitch's "Discombobulation."
The Second RingA1 Partner promenade Right and left through A2 Balance ring Petronella turn 1 & 1/2 [1] Neighbor N2 swing B1 Left diagonal ladies chain [2] Ladies chain across B2 Balance ring Petronella turn 1 & 1/2 [1] Partner swing
Yet another "Fiddleheads" variant. Or a simpler version of "Roadkill" gotten by relaxing the single-progression constraint.
Note the A1 could be dropped completely if you wanted a 24-bar contra to fit an unusual of music, like a blues tune.
End effects: Neutral couples should wait out with the gent on the right.
To make this single progression, and a bit more confusing, replace the A1 promenade with "promenade and shift right to face N0."
Three Ways OutA1 Balance ring Petronella turn Partner swing A2 Long lines forward and back Ladies allemande right 1 & 1/2 B1 Neighbor balance Neighbor swing B2 Balance ring Petronella turn Balance ring Petronella turn 1 & 1/2 [1]
Named because you exit the petronella turn in three slightly different ways.
See also:
A1 Gents allemande left 1 & 1/2 1/2 hey (Nr,Ll,Pr,Gl) A2 Neighbor right shoulder round Neighbor swing B1 Right diagonal ladies chain to shadow [1] Circle right 1 [2] B2 Neighbor N2 1/2 clockwise pousette around partner [3] Partner swing [4]
A partner-swing version of "A Sure Thing" that I tested back on June 1, 2012, in San Diego. That night people had enough trouble with staying in the correct hands four after the chain that I dumped the dance, and wrote the simpler, if sloppier-timed "Trust." This dance got buried as a footnote in my dance programs.
Until Frannie Marr brought up the A2/B1 timing issues on "Trust." I mentioned this dance, and she decided to try it a few times. Thanks to her, it's gotten enough positive feedback to be brought back from the dead.
Video: (#1)
Blurring the LinesA1 Slice left [1] Circle left 1 A2 Neighbor clockwise pousette 3/4 [2] Neighbor lead clockwise around set [3] B1 Turn alone [4] Lead counterclockwise around set Ladies allemande left 1 & 1/2 B2 Partner right shoulder round Partner swing
The title refers to the lines between the various transitions of the dance, but it also could be about the lines between contra and English Country Dance.
Double JoyA1 (4) Left diagonal give and take to ladies' side [1] (4) Neighbor 1/2 clockwise pousette [2] (8) 1/2 hey (Ll,Nr,Gl,Pr) A2 (2) Ladies pass left [3] (6) Neighbor right shoulder round (8) Neighbor swing B1 (4) Give and take to ladies' side [4] (4) Partner 1/2 clockwise pousette (8) 1/2 hey (Ll,Pr,Gl,Nr) B2 (2) Ladies pass left (6) Partner right shoulder round (8) Partner swing
It's easy to add a neighbor swing to "Joyride" -- just make the B2 a circle left 3/4, swing neighbor; and then replace the shoulder-round with long lines. But it's actually possible to pack in the pousette/hey/swing transition for both neighbor and partner. The give and take gives a nice, quick entry into the pousette.
The original English Country Dance that inspired all the pousette/hey contras, "Companions," is online.
The Flying TrapezeA1 Partner pousette clockwise 1/2 [1] Ladies roll away neighbor [2] 1/2 hey (Ll,Pr,Gl) A2 Neighbor balance Neighbor swing B1 Gents allemande left 1 & 1/2 Partner swing B2 Ladies chain Circle right 1
A1 Left diagonal right and left through [1] Circle left 3/4 with N3 A2 Partner clockwise draw pousette 3/4 [2] Partner two-hand turn 2 [3] B1 Hey (Gl,N3r,Ll,Pr,Gl,N3r,Ll) B2 Partner right shoulder round Partner swing
This is perhaps the most pure version of the three Wind-up dances I came up with. It's unfortunately only done with your partner, so if neither you nor your partner can figure things out, you're in deep trouble. "Wind-up Your Neighbor" lets the main figure be taught through your neighbor.
The Hidden DrawA1 Partner clockwise pousette 1/2 around N1 [1] Partner counterclockwise pousette 1 around N2 A2 Facing star (with N1) clockwise 3/4 [2] Partner swing B1 Gents allemande left 1 & 1/2 Neighbor swing B2 Long lines forward and back Right and left through
More experimenting with pousette timing, entries, and exits. See "The Secret Draw" for the neighbor version of this.
The title refers to the facing star, which is a draw pousette in disguise.
The Scenic Route
A1 (5) Partner pousette clockwise 1/2 around N1 [1]
(5) Partner draw poustette counterclockwise 1/2 around N2 [2]
(3) Counterclockwise mad robin 1/2 around N2 (gents in front) [3]
(3) Clockwise mad robin 1/2 around N1 (ladies in front) [4]
A2 Circle left 3/4 (with N1)
Partner swing
B1 Ladies allemande right 1 & 1/2
Neighbor swing
B2 Neighbor promenade
Circle right 1
I'd recommend working the kinks out of this at a dance weekend, rather than at a regular weekly dance. The A1 is tricky, and partner-centric, so it needs to be taught carefully. I did not hit upon the ideal words the one time I tested this, unfortunately.
End effects exist, however, you always re-enter with the gent on the left and the lady on the right. The end effect that tripped people up during its test run was changing roles -- after twos came back in as ones, they still wanted to move down the set during the mad robins. And since those are unconnected moves, nobody could easily help them.
Video: (#1)
The Secret DrawA1 Partner promenade, shift right to N2 [1] Balance ring Gents roll away neighbor N2 A2 Neighbor N2 clockwise pousette 1/2 around partner [2] Neighbor N2 counterclockwise pousette 1 around shadow B1 Facing star (with partner) clockwise 3/4 [3] Neighbor N2 swing B2 Circle left 3/4 Partner swing
More experimenting with pousette timing, entries, and exits. See "The Hidden Draw" for the partner version of this.
The title refers to the facing star, which is a draw pousette in disguise.
Swap MeetA1 Long lines forward and back Counterclockwise mad robin, gents in front to start [1] A2 (5) Partner counterclockwise 1/2 pousette [2] (6) Circle right 3/4 (5) Neighbor counterclockwise 1/2 pousette B1 Balance ring Partner swing B2 Gents allemande left 1 & 1/2 Neighbor swing
This came from misunderstanding a dance where I thought there were two half pousettes and a full circle in 16 beats. It seemed rather tight, so I wondered what would happen if the circle was three-quarters around, saving two beats. In the actual dance the timing isn't tight because dancers will steal a beat or two from the mad robin figure.
A Thing of TrustA1 Partner 1/2 clockwise pousette [1] [2] Neighbor swing A2 Long lines forward and back Circle left 3/4 B1 Neighbor 1/2 clockwise pousette [1] [2] Partner swing B2 Ladies chain Circle right 1
A smushing together of the B2/A1 of "A Sure Thing" and A2/B1 of "Trust," to put both transitions in the same dance. Written back in 2012 and posted to the untested dance page. Finally tested on 1/1/2016, but it took me another year and a half to make the promotion official.
Videos: (#1) (#2) (#3) (#4) (#5) (#6) (#7) (#8) (#9)
TrustA1 Neighbor balance Neighbor swing A2 Long lines forward and back Circle left 3/4 B1 Neighbor 1/2 clockwise pousette [1] Partner swing [2] B2 Ladies chain Star left 1
The partner-swing version of "A Sure Thing." Fast dancers will start the pousette slightly early, but I think this flaw is outweighed by the gain in simplicity -- the tighter timing variants of this dance always seemed to go outside the minor set with shadow effects.
There's also "A Thing of Trust," which combines "Trust" and "A Sure Thing."
Videos: (#1) (#2) (#3) (#4) (#5) (#6) (#7)
Victory Rose
A1 Neighbor balance
Neighbor swing
A2 (4) Circle left 1/2
(6) Partner 1/2 clockwise pousette [1]
(6) Ladies allemande left 1 while gents orbit clockwise 1/2 [2]
B1 Partner balance
Partner swing
B2 Ladies chain
Star left 1
"Joyride" is only based on part of "Companions". The full second half of "Companions" is a pousette/hey/orbit transition. The above sequence just tosses the hey.
This dance ended up in the same family as "The Baby Rose". After grafting in a branch from a Victor Skowronski dance, the hybrid was a 'Victor - yish Baby Rose'.
Wind-up Your NeighborA1 Slice left [1] Circle left 1 A2 Neighbor draw pousette clockwise 3/4 [2] Neighbor two-hand turn 1 & 1/2 [3] B1 1/2 hey (Gl,Pr,Ll) Neighbor swing B2 Gents allemande left 1 & 1/2 Partner swing
This started from an interest in the pousette to two-hand turn transition, and kept building from there. It has a different ECD-like feel.
Other variants include "Wind-up Your Partner," where most of the action is done with your partner; and "The Full Wind-up," where all the action is done with your partner.
This was originally written as a double progression dance, but was converted to a single in 2/2012, tested a year later.
See also:
A1 Neighbor balance Neighbor swing A2 Gents allemande left 1 & 1/2 Partner swing B1 Partner promenade counterclockwise 3/4 around neighbor, face N0 [1] Partner promenade clockwise 3/4 around neighbor N0 [2] B2 Circle left 3/4 with N0 Weave the line: Zig left past N0, zag right past N1, zig left to N2 [3]
Putting the key figure of "The Weaving Sloop" into a more complex dance -- in this case mixing it with a thematically similar weave-the-line.
Half the FunA1 Circle left 3/4 Neighbor swing A2 Ladies chain Star left 1 B1 Promenade [1] Shift right [2] 1/2 hey (Lr,N2l,Gr) B2 Partner balance Partner swing
Stealing the star/promenade transition from "Spring Fever" by Tony Parkes.
This is a very partner-focused dance.
NEWSreelA1 Down the hall in a line of four [1] Turn as couples, return A2 Circle left 1 Neighbor swing B1 Neighbor promenade counterclockwise around the set Turn as a couple, promenade back B2 Long lines forward and back Ones swing
The name (a pun I'm surprised no-one else has already used) comes from North-East-West-South, as this dance puts you through just about every non-diagonal direction.
Primrose PathA1 (new) Gents allemande left 1 & 1/2 [1] Neighbor star promenade [2] Counterclockwise butterfly whirl A2 Neighbor promenade counterclockwise around the set Turn as couples Promenade back B1 Neighbor star promenade (ladies in center) [3] Clockwise butterfly whirl Neighbor swing B2 Gents cross, passing right shoulders Partner swing
A1 Right diagonal ladies chain to neighbor N2 1/2 hey (Lr,Sl,Gr) A2 Neighbor N2 balance Neighbor N2 swing B1 Neighbor N2 promenade counterclockwise 3/4 around shadow, face partner [1] Neighbor N2 promenade clockwise 3/4 around partner [2] B2 Circle left 3/4 Partner swing
Using the key figure from "The Weaving Sloop" as a partner reunion device.
Splitting HairsA1 Neighbor do-si-do Neighbor swing A2 Ladies chain Star left 1 B1 Ladies turn over right shoulder to face partner [1] Partner right shoulder round Partner swing B2 Partner promenade 3/4 around, face next [2] As couples, do-si-do new neighbors (N2)
I have found the following helpful for teaching the promenade 3/4 around, facing the next: Have them identify their future neighbors on the left diagonal. Then have them face their current neighbors, promenade around them until they can take hands-four with new neighbors, for teaching purposes only.
If you find a quicker way to say that, I'm all ears. Metaphorically speaking, of course.
Treat or Trick
A1 (6) Single file promenade counterclockwise around entire set [1]
(2) Gents turn around [2]
(8) Neighbor swing
A2 Neighbor promenade clockwise around set [3]
Ladies allemande right 1 & 1/2 [4]
B1 Partner right shoulder round
Partner swing
B2 Ladies chain [5]
Star left 1 [6]
A variant of "Trick or Treat" by Al Olson. I swapped the star right with a star left, and made compensating changes.
Wander RingsA1 Shift left to new neighbors Circle left 3/4 Neighbor swing A2 Neighbor promenade counterclockwise 3/4 around partner, face shadow [2] Neighbor promenade clockwise 3/4 around shadow [3] B1 Balance ring Petronella turn Balance ring Petronella turn B2 Balance ring Petronella turn 1 & 1/2 [4] Partner swing
Using the key figure from "The Weaving Sloop" as a partner separation device.
The Weaving SloopA1 Partner promenade counterclockwise 3/4 around neighbor, face N2 [1] Partner promenade clockwise 3/4 around neighbor N2 [2] A2 Circle left 3/4 [3] 1/2 hey (N2r,Gl,Pr,Ll) B1 Neighbor N2 balance Neighbor N2 swing B2 Ladies allemande right 1 & 1/2 Partner swing
More experimentations with promenades, in trying to find 16-beat promenade moves. This prompted a string of dances involving weave the line ("Curves and Ways"), partner separation ("Wander Rings") and partner reunion ("Promenade Home").
The A1 weaving figure times out nicely in an uncrowded hall like San Diego. It may be a little soft, timing-wise, in more crowded/compact halls. In those cases, a clockwise courtesy turn a the end of the promenade might help.
I have been unable to find the correct words to teach this figure. A demo works very well, though. If you do find a good set of teaching words, please email me! (Though see "Splitting Hairs" for a way to teach the first half.)
See also:
Do What's RightA1 Shift right to new neighbors [1] Circle right 3/4 [2] Gents allemande left 1 & 1/2 [3] A2 Partner right shoulder round Partner swing B1 Circle left 3/4 Neighbor swing B2 Long lines forward and back 1/2 hey with ricochet (Lr,Pl,G ricochet) [4]
Written for Kelsey Hartmann, a dancer, caller, and friend from the greater San Francisco area.
There's also a twin version of this that has a shift left out of the ricochet. I hope to name it and put it on the website soonish.
Video: (#1)
Racquetball ReelA1 Long lines forward and back (new) Ladies allemande left 1 & 1/2 [1] A2 Partner balance Partner swing B1 1/2 hey with ricochet (Gl,Nr,L ricochet) [2] Neighbor clockwise butterfly whirl 2 [3] B2 1/2 hey (Gl,Nr,Ll) [4] Neighbor swing
More experimenting with transitions out of the ricochet hey.
Ricochet TwinsA1 1/2 hey with ricochet (Gl,Nr,L ricochet) [1] Neighbor swing A2 Long lines forward and back Ladies chain B1 Circle left 3/4 Pass through Neighbor N2 allemande right 1 & 1/2 B2 1/2 hey with ricochet (Gl,Pr,L ricochet) [1] Partner swing
A case of being in the right place at the right time. Bob Isaacs was in town for a calling tour during 2009, and the day after during lunch at the San Diego Zoo, he discussed an inelegant solution to a double-ricochet-swing dance he'd been working on. I worked backwards from an allemande right entry (since a swing entry was out of the question), and quickly stumbled upon this A2/B1 solution.
See also:
A1 Circle left 3/4 Neighbor swing A2 Right and left through with N1 [1] Right and left through with N2 [2] B1 Gents allemande right 1 & 1/2 1/2 hey (Pl,Lr,N2l,Gr) B2 Partner balance Partner swing
I was writing a dance to teach a same-role right and left through, and decided to have everyone learn from unfamiliar positions. I came up with the above dance and really got excited about the A2 transition, until a week later when I realized "Elegance and Simplicity" had beaten me to the punch by over 200 years. Oh well. So in honor of this I gave my dance the pretentious title "Just Elegance," because it's certainly not simple. Then again, neither is the original.
For other modern takes on this same idea, check out "Pleasantly Surprised" by David Smukler, "Double Plow" by Al Olson, or "Needham Reel" by Herbie Gaudreau.
Video: (#1)
Path to the PastA1 Down the hall in a line of four Centers (twos) turn as a couple, ends turn alone Up the hall in a line of four, face across A2 Same-role right and left through with N1 [2] Same-role right and left through with N2 [3] B1 Balance ring Petronella turn Partner swing B2 Balance ring Petronella turn Neighbor N2 swing, face down
This is the more elegant but complex version of "Another for the Money." It teaches dancers both positions of a same-role right and left through while still fitting modern sensibilities. (Two swings, all-active.)
Surprise ThroughA1 Ladies chain Star left 1 [1] A2 Left square through (Nl,Pr,Nl), face across [2] Right and left through with next neighbors (N2) [3] B1 Ladies allemande right 1 Neighbor N2 swing B2 Circle left 3/4 Partner swing
This dance was later simplified into "The Zen of Dance."
The Zen of DanceA1 Left square through (Nl,Pr,Nl) [1] Right and left through [2] A2 Ladies allemande right 1 & 1/2 Partner swing B1 Circle left 3/4 Neighbor swing B2 Long lines forward and back [3] Star right 1
More experimentation with left-handed square throughs and no-balance square throughs.
See also:
A1 (4) Circle left 1/2
(12) Neighbor swing
A2 (8) Gents allemande left 1 & 1/2
(8) Partner swing
B1 (8) Right and left through
(8) Ladies chain
B2 (4) Balance ring
(3) Gents roll away partner (across the set) [1]
(3) Gents roll away neighbor (on side of set)
(3) Gents roll away partner (across the set)
(3) Partner California twirl
More experimentation with timing of consecutive roll aways.
Reroll ReelA1 Slice left [1] Ladies chain A2 Balance ring Gents roll away partner (across) Neighbor swing B1 Long lines forward and back Ladies chain B2 Balance ring Gents roll away neighbor (across) Partner swing
I presume this was the dance Bob Isaacs was trying to avoid writing when he composed "Roll Away Sue." But both halves are identical except for the figure following the swing, and the only different is that you progress at the top of the music. So it still seems to work.
As a variant, you could convert both ring balances into circle left 1/2s.
And yes, this dance's name is meant to be said twenty times fast.
SharingA1 Balance ring Gents roll away neighbor (across the set) Balance ring Gents roll away partner (on side of set) A2 Gents allemande left 1 & 1/2 Neighbor swing B1 Long lines forward and back Next ladies allemande left 1 & 1/2 [1] B2 Partner right shoulder round [2] Partner swing
This actually started by thinking of "Happy Ending" by Chris Weiler, and what other dances musically could fit the same format. The name "Sharing" can mean whatever you want it to mean, but for me it's most directly about sharing the weight during the roll-aways.
There's some other two-swing dances that have a chunk similar to this A1. Most of those (except for "Winter is Coming" by Bryan Suchenski) then immediately go to a balance and swing on the side, which means the second swing is shorter. "Sharing" swaps these by having a short swing after the roll away section, and a longer swing elsewhere.
Spin CycleA1 Balance ring Gents roll away neighbor [2] Gents roll away partner Gents roll away neighbor Gents roll away partner A2 Weave the line with partner right, then left to N2 [3] Neighbor N2 swing B1 Circle left 3/4 Partner swing B2 Long lines forward and back Ladies chain
An extension of "Without a Net."
During the walkthrough, I'd recommend emphasizing two things:
A1 Circle left 3/4 Neighbor swing A2 Long lines forward and back Ladies chain B1 Left diagonal ladies chain to N2 Balance ring Petronella turn B2 Balance ring Gents roll away shadow Partner swing
The whole point of this dance is the roll-to-swing transition, so it may be worth teaching time to talk about the connection in the roll-away, and making sure both parties enter the swing nicely.
Without a NetA1 Shift left Circle left 3/4 Neighbor swing A2 Promenade Ladies chain B1 Balance ring [1] Gents roll away neighbor (across the set) Gents roll away partner (on side) [2] Gents allemande left 1 B2 Partner right shoulder round Partner swing
I find roll away to roll away a fun transition. I just put it in a dance with a 16-count swing as a recovery point.
There's also a twin dance that swaps the neighbor and partner swings and rolls:
Without a Net 2A1 Balance ring Gents roll away partner (across set) Gents roll away neighbor (on side) Gents allemande left 1 A2 Neighbor right shoulder round Neighbor swing B1 Circle left 3/4 Partner swing A2 Promenade, shift right to N2 Ladies chain
See also:
A1 Balance wave of four (left,right) Slide left [2] Neighbor allemande right 1 & 3/4 A2 Balance long wave (right, left) Slide right [3] Neighbor N2 swing B1 Circle left 3/4 Partner swing B2 Partner promenade Circle right 3/4 to wave of four (gents in middle, left hand to neighbor N2)
My attempt to include my two favorite transitions (allemande and swing) out of Rory slides in the same two-swing dance. Unfortunately, if they're both to be in the same half of the music, the slide left must come before the slide right, which is counterintuitive. One way to teach around this is that both balances and slides start towards the same neighbor. Or you could begin the dance with the A2, and have the balances run across the music.
The name refers to the A2 action -- the first interaction with your new neighbor is negotiating a swing while spinning.
Bound StatesA1 Circle left 3/4 Neighbor swing A2 (New) ladies on right diagonal allemande right 1 & 1/2 Shadow allemande left 1 & 7/8 to long waves [1] B1 Balance long waves Slide right [2] Balance long waves Slide left B2 Partner swing [3]
A basic partner "Rory o' More" on the sides dance. The name's a bad one, but it's too late now. The idea was from atomic theory, and vibrating around the other person, and, well, the only thing I can console myself with is that dances with far worse names have been written.
While I think I like the slide to swing transition without a balance, feel free to try B2 with a regular balance and swing.
This dance is structurally very similar to "Dancing With Amy" by Bill Olson.
Kindred SpiritsA1 Shift left to new neighbors Circle left 3/4 Neighbor do-si-do 1 & 1/4 to wave of four A2 Balance wave of four Slide right [1] Neighbor pull by left Ladies chain B1 Balance ring Petronella turn Neighbor swing B2 Balance ring Petronella turn Partner swing
Originally inspired by thinking about the MWSD figure "chain down the line," which doesn't fit into eight beats. When thinking about what could bring the piece count up to eight, I came up with the A2 fragment.
It turns out the A2 isn't original -- it appears in "Hamner Springs" by Bob Isaacs, which is fairly similar to my non-neighbor swing variant below.
The timing on the A2 is fuzzy. It's probably something like three for the Rory spin, two for the pull by, and seven for the chain.
There's a nice variant of this without a neighbor swing:
A1 & A2 as above B1 Hey (Lr,N2l,Gr,Pl,Lr,N2l,Gr) B2 Partner balance and swingMidwestern Rories
A1 With partner, shift left to new neighbors Circle left 3/4 to wave of four [1] Balance wave Slide right [2] A2 Balance wave Slide left [3] Neighbor swing B1 Circle left 3/4 to wave of four [4] Balance wave Slide right B2 Balance wave Slide left Partner swing
Currently I'm very interested in repetition. (Currently I'm very interested in repetition.) So I wanted to do the "Rory o' More" spins to swing transition for everyone, all the time. The circle to wave trick allowed a quick entry, and the structure for cramming all that in came from Orace Johnson's "Midwest Folklore."
Not a Trip to VegasA1 Partner star promenade 1/2 (ladies have right hands in middle) [2] Ladies allemande right 1/2 [3] Neighbor swing A2 Ladies chain Partner promenade Shift right to N2 [4] B1 Star left 1 with N2 Shadow allemande right 1 & 1/2 to long waves [5] B2 Balance long wave Slide right [6] Partner swing [7]
Written for the wedding of Frannie Marr and Bill Ralston. The Rory o' More spin to swing is one of Bill's favorite moves, while the revolving door is one of Frannie's favorites. And the shadow allemande allows for partner swapping, for those that sometimes enjoy a little chaos....
The name comes from a pre-wedding joke before they were engaged. On April Fool's Day, they suddenly changed their Facebook statuses to married, only commenting they were visiting Las Vegas. This dance was written for their real wedding, and hence is, "Not a Trip to Vegas."
Videos: (#1) (#2) (#3) (#4) (#5)
On the Other HandA1 Balance wave of four Slide right [2] Balance wave of four Slide left, ends slide two places [3] A2 Partner balance Partner swing B1 Circle left 3/4 Neighbor swing B2 Ones half figure eight up Next same-role neighbor (N2) do-si-do to wave of four
More experimenting with proper moves. I wound up using the same get-out from proper to partner swing as in "Double Your Fun" by Bob Isaacs. In fact, this can be considered a more limited version of that dance, but with a neighbor swing.
Contras where you leave the minor set that has your partner. The equivalent person to your partner in your current hands-four is called your shadow.
Leaving your partner makes things more complex and often adds end effects. It can also be very brief, or for most of the dance.
See also:
A1 Neighbor right shoulder round Neighbor swing A2 Shift left [1] Circle left 3/4 (with shadow) Balance ring Neighbor California twirl B1 Partner balance Partner swing B2 Partner promenade [2] Circle right 3/4 Pass through across (pass partner left) [3]
Written for Jennifer Crawford and Mike Heitzman, who spent three years in San Diego before returning to Albuquerque, New Mexico. The day before they left, they sponsored the contra dance, which I was calling. Jennifer asked if there was a dance called "Left Turn at Albuquerque." I told her there could be, and wrote the above for them.
Since it's a classic Bugs Bunny expression, it needed to involve making wrong turns. I tried to do it in a somewhat controlled/forgiving manner. I first wrote the B2, then patched in the A2 from Dan Pearl's dance, "Cal and Irene." It turned out the rest of "Cal and Irene" was fairly similar to this dance.
Separation AnxietyA1 Long lines forward and back Left diagonal ladies chain to neighbor N2 [1] A2 Hey (Lr,Sl,Gr,N2l,Lr,Sl,Gr) [2] B1 Neighbor N2 balance Neighbor N2 swing B2 Circle left 3/4 Pass through Partner swing
This is my simplification of "Snowbound," but it can also be thought of as the twin dance to "Chrysalis" by Don Flaherty.
See also:
A1 Long lines forward and back Star left 1 (wrist-grip) A2 Partner promenade, shift right to N2 [1] Hands-across star left 1 with N2 B1 Gents allemande left 1 & 1/2 Neighbor N2 swing B2 Ladies allemande right 1 & 1/2 Partner swing
Right now I'm recommending different stars to help differentiate them -- each one starts on the other side, so it has confusion potential, especially for dancers coming in from the top/bottom of the set.
Christmas StarsA1 Ones star left 1 with lady two (G1 behind partner) [1] [2] Ones star right 3/4 with gent two (L1 behind partner) Gent one cross set to original place A2 Neighbor right shoulder round Neighbor swing B1 Circle left 3/4 Partner swing B2 Ladies chain Long lines forward and back
Written for a stars program, where I realized I didn't have stars of three. I took the vague idea of circles of three from "Christmas Hornpipe" (a.k.a. "Vinton's Hornpipe"), and tweaked from there. (See the book "Swing the Next" by Ted Sannella for detailed instructions on those.)
Objects in MotionA1 Star right 1 [1] Neighbor N1 pull by right [2] Neighbor N2 allemande left 1 A2 Neighbor N1 balance Neighbor N1 swing B1 Circle left 3/4 Partner swing B2 Ladies chain Star left 1
This started out with the A1, but quickly turned into a dance very similar to "Poetry in Motion."
PioneerA1 Long lines forward and back Right and left through A2 Star left 1 Shift right to N2 [1] Hands-across star left 7/8 [2] B1 Gents allemande left 3/4 Neighbor N2 swing B2 Circle left 3/4 Partner swing
This was taking the mirror image of the star/star transition from "Star Trek" by Mike Richardson, but with left-hand stars. I knew Luke Donforth had already gone there with "Voyager," but I wanted to try something else, with a neighbor swing.
The title is a nod to "Voyager", as Pioneer 10 and 11 also left the solar system, like Voyager.
Sanders' Swing
1A1 Shift left
Circle left 3/4 with next neighbors
Neighbor swing
1A2 Ladies chain
Star left
1B1 Star right
Swinging star [1]
1B2 Ladies swing, gents drop out on original side [2]
Partner swing
2A1 Shift left [3]
Circle left 3/4 with next neighbors
Neighbor swing
2A2 Ladies chain
Star left
2B1 Star right
Swinging star
2B2 Gents swing, ladies drop out on original side
Partner swing
I was really impressed with a dance written by Jeff Kaufman, "Good Morning Mr. Sanders," but kept tweaking and poking at it. The most significant change was making the same-role swings alternate, but there are a few other bits and pieces.
This is a fairly non-threatening same-role swing for the gents, as the choreography forces it to be a cross-armed swing at arm's length.
Video: (#1)
SpinoutA1 Neighbor balance Neighbor swing A2 Circle left 3/4 Partner swing B1 Ladies chain Ladies allemande right 1 & 1/2 to wave of four [1] B2 Balance wave Ladies slide right while gents cast over right shoulder [2] Hands-across star left 1
A1 Shift left Circle left 3/4 Neighbor swing A2 Long lines forward and back [1] Gents allemande left 1 & 1/2 B1 Hands-across star left 1 [2] Ladies allemande left 1 & 1/2 B2 1/4 hey (Nr,Gl) [3] Partner swing
Inspired by Margot Gunzenhauser's dance "California Carousel," though her allemandes were only once around in eight beats. This motif also appears in "The Birth and Death of a Star" by Adam Carlson, and more compressed in "Windup Star" by Bob Isaacs. All those stars are to the right, though.
See also:
A1 (new) Gents allemande left 1 & 1/2 Partner star promenade Counterclockwise butterfly whirl A2 Ladies right shoulder round 1 Partner swing B1 Ladies allemande right 1 & 1/2 Neighbor star promenade Clockwise butterfly whirl B2 1/2 hey (Gl, Pr, Ll) Neighbor swing
A weaker version of "A Bevy of Butterflies" suitable for a medley.
Heart of Glass for GuysA1 (new) Ladies allemande right 1 & 1/2 Partner star promenade Clockwise butterfly whirl A2 Hey (Gl,Nr,Ll,Pr,Gl,Nr,Ll) B1 Partner right shoulder round Partner swing B2 Gents allemande left 1 & 1/2 Neighbor swing
Despite the name, this was a modification of Becky Hill's "Sweet Music for Guys" by patching in a neighbor swing. But this resulted in a number of changes from the original, and it seemed taxonomically closer to the gents version of "Heart of Glass," even if it wasn't the inspiration.
I wouldn't be surprised if someone has already written this exact sequence. All these dances are just fix-ups and tweaks off of the original "Sweet Music." Just like any other good folk process.
An Other, WhirledA1 Ladies chain Long lines forward and back, while lady one only rolls away new neighbor N2 [2] A2 Ones allemande right 1 & 1/2 Same-role neighbor (N2) star promenade Clockwise butterfly whirl [3] B1 Twos allemande left 1 & 1/2 Neighbor N2 swing B2 Circle left 3/4 Partner swing
More experimentation with proper moves. There is no good starting point formation for this dance, so I've left it as a Becket with ones and twos.
The challenges in this dance are changing roles between ones and twos at the ends, and having a dance without a recovery/rest point.
ScoopedA1 Shift left to new neighbors Circle left 3/4 Neighbor swing A2 Ladies chain Hands-across star left 7/8 [1] Gents allemande left 1/4 while ladies sidestep out of star [2] B1 Partner star promenade Counterclockwise butterfly whirl 1/2 hey (Lr,Nl,Gr) B2 Partner balance Partner swing
Experimenting with entries into the star promenade. I expect someone else has already tried this transition.
Summer AzureA1 Neighbor balance Neighbor swing A2 Gents allemande left 1 & 1/2 Partner star promenade Counterclockwise butterfly whirl B1 Ladies allemande right 1 Partner swing B2 Long lines forward and back Circle left 3/4 Pass through
Named after a butterfly species.
Super Swooper ScooperA1 Long lines forward and back Ladies chain A2 Star left 1 Neighbor N2 allemande right 1 & 3/4 B1 Gents pull by left [1] Partner star promenade Butterfly whirl Ladies right shoulder round 1 B2 Partner balance Partner swing
An experiment with entries into the star promenade. While you could pack a neighbor swing into this, the dance becomes significantly more complex.
You could have a ladies' allemande instead of a right shoulder round in the B1, but then they are more likely to confuse it with the chain.
See also:
A1 Square through (Nr,Pl,Nr) [1] 1/2 hey (Gl,Pr,Ll) A2 Neighbor right shoulder round [2] Neighbor swing B1 Circle left 3/4 Partner swing B2 Ladies chain Star left 1
More experimentation with transitions out of the square through.
The Fifth PieceA1 Long lines forward and back Ladies chain [1] A2 Square through (Pr,Nl,Pr,Nl) [2] Neighbor N2 allemande right 1 [3] B1 Half hey (Ll,Pr,Gl) Neighbor N2 swing B2 Gents allemande left 1 & 1/2 Partner swing
Written after thinking about no-balance square throughs. Four beats per pass is far too slow, two beats per pass is a nightmare race. Three in eight beats works out very nicely (see "Jim's Whim") -- but what about adding a six-beat figure to about ten beats for a square through four hands?
This dance, "Squared Up," and "Squared Off" are the results.
Left Out
A1 1/2 hey (Ll,Pr,Gl)
Neighbor swing
A2 Gents allemande left 1 & 1/2
Partner swing
B1 Ladies chain
Star left 1 [1]
B2 Left-hand square through (partner left-hand balance,
partner pull by left, neighbor pull by right, repeat all that)
This dance was built around the B2 figure. I used the transition from "Rod's Grits" to force entry into the unfamiliar left-handed square through. To do something with the left-hand square through that the right-handed version couldn't do as nicely, I added the "Goosebumps" (by Bob Isaacs) B2/A1 transition.
A simpler version of this dance is:
A1 Neighbor balance and swing A2 Circle left 3/4 Partner swingSquare Route
A1 Neighbor balance Neighbor swing A2 Balance ring Petronella turn, face across Square through (Nl,Pr,Nl) [1] B1 Partner balance Partner swing B2 Balance ring Petronella turn, face across Square through (Pl,Nr,Pl), face next [1]
Written during a December 2012 car trip with Bob Isaacs, when I was visiting New Jersey and he was calling Glen Echo. I'd just called "The Zen of Dance" a few days before at an open mike, and we were pondering what else could be done with a left square through.
A few years later, Bob removed a spurious allemande by starting the square through facing across, giving the dance in it's final form.
Bob has noted this dance has interesting programming characteristics -- two long swings, without circles, chains, allemandes, or heys.
Squared OffA1 Shift left Circle left 3/4 with N2 Neighbor N2 swing A2 Long lines forward and back Ladies chain [2] B1 Square through (N2r,Pl,N2r,Pl) [3] Shadow allemande right 1 B2 Partner balance Partner swing
Another variant of the idea from "The Fifth Piece."
Squared UpA1 Slice left [1] Ladies chain A2 Square through (Pr,Nl,Pr,Nl) [2] Neighbor N2 allemande right 1 B1 Neighbor N1 balance Neighbor N1 swing B2 Circle left 3/4 Partner swing
Another variant of the idea from "The Fifth Piece."
See also:
Alexander's Swing-timeA1 Balance long waves Slide right [2] Neighbor N1 allemande left 1 & 1/2 A2 Neighbor N0 swing Neighbor N1 swing B1 Circle left 3/4 Partner swing B2 Ladies chain Star left 1 to long waves [3]
Written for Marilyn Alexander of the Los Angeles area from a raffle at the 2012 Santa Barbara Harvest Moon dance. She really liked the swing-swing transition from "Back From Vermont" by David Zinkin. This was my attempt to put the same move in a different context. You can also think of this as a hybrid of Bob Isaac's "United We Dance" and John Greene's "Jet Lag Rag."
The allemande and second swing will need to be prompted the longest. If the music supports 8-beat phrasing for the swings, then it may also make some dancers want to do the other half of the Rory o' More spins. I might switch this to Becket starting with the B2 if this becomes enough of a problem.
Some will be bothered the end effect of suddenly doing everything on the other side, messing with the muscle memory. Ones first look down to Rory spin, then up to allemande, up to swing N0, and down to swing N1. Lots of reverses of direction. If by habit they look in the same directions when they become a two, they create choppy waters. The worst point I've noticed is looking for N0.
Video: (#1)
Fool Around For LoriA1 Neighbor right shoulder round Neighbor swing A2 1/2 hey with ricochet (Gl,Pr,L ricochet) [1] Circle left 7/8 [2] B1 Ladies swing Partner swing B2 Ladies chain 1/2 hey (Lr,Pl,Mr)
A dance written for a very special friend, Lori Weiss. Right shoulder rounds and ricochets are some of her favorite moves. There was also a period of time when she had wrist pains from allemandes, so she'd often convert the ladies' allemande right into a swing, whereupon I'd then catch the person coming out of it for a swing on the side. The circle/swing transition is stolen from Gene Hubert's "The Diagonal Dilemma."
The name was chosen by her -- in that there's times where she likes to swap gender roles mid-dance.
Music that has clear 8-beat phrasing in the B1/B2 helps.
Moments of TransitionA1 Long lines forward and back Gents allemande left 1 & 1/2 A2 Neighbor N1 swing Neighbor N2 swing B1 Neighbor N2 promenade, shift right to face shadow [2] Ladies allemande right 1 & 1/2 B2 Shadow swing Partner swing
This is all about the swing/swing transition. I recommend having music that supports clear 8-beat phrasing.
While there's plenty of end effects, they're all fairly standard and expected.
If four swings aren't enough for you, convert the allemandes into same-role swings. If six isn't enough swing, try Lindy.
It's interesting how this dance uses almost the same pieces as "Patience."
Swing the NextA1 Gents allemande left 1 & 1/2 Neighbor swing A2 Neighbor N2 swing Neighbor N3 swing B1 Ladies chain 1/2 hey (Lr,N3l,Gr) B2 Partner balance Partner swing [1]
This is taking the swing/swing transition to its illogical extreme. Ideally dancers should be advanced enough to help their neighbors in and out of the swing/swing transition. I recommend music that has strong eight-beat phrasing.
The title has nothing to do with Ted Sannella's classic book, but rather the call I use to help establish the A1/A2 timing.
While you could make this dance single progression (for instance have the chain on the left diagonal), there's no real need. You already get to swing every neighbor, and it'd just make things more complex.
SwingCatcher
A1 (new) Gents allemande left 1 & 1/2
1/2 hey (Pr,Ll,Nr,Gl) [1]
A2 Partner balance
Partner swing
B1 Ladies chain
Long lines forward
and back, while ladies roll away N1
B2 Neighbor N0 swing
Neighbor N1 swing
This started as a test dance for a shadow-to-partner swing dance I needed for a medley. It turned out a better one already existed. ("Ten Strings Attached") But I kept the original test dance.
In writing this sequence I was influenced by Bob Isaacs's discussions on neighbor sequences. In this dance you size up your neighbor via standard interactions (hey, chain) before navigating the B2 transitions, which are challenging to do well.
When teaching this dance, I first have everyone turn around and introduce themselves to N0 behind them.
I've since bumped this up to the complex dance section, as while intermediate dancers can get through it fine, it only really shines with dancers who have a good sense of timing and connection, to bring out the most of the roll-swing-swing transitions.
See also:
A1 Long lines forward and back Ladies allemande left 1 & 1/2 A2 Partner right-hand balance Partner pull by right Gents pull by left Neighbor right-hand balance Neighbor box the gnat B1 Neighbor pull by right Gents pull by left Partner swing B2 Circle left 3/4 Neighbor swing
My variant of "333" by Steve Zakon-Anderson, where the action is rotated 90 degrees, so it stays within the minor set. It's also kind of similar to "A Dance for Dan" by Bill Olson.
There's an untested interesting potential out-of-the-major set version of this. When the gents pull by left in the A2, ladies could pull by left with another lady from another major set. Then the person you balance and box the gnat with is a shadow from a different contra line. Ladies then need to pull by left again in the B1 to find their partner.
(Update: Variant tested by Will Mentor at the Atlanta Starship CCD dance weekend on 11/11/2017. See below for a video.)
Videos (of variant): (#1) (#2)
Twirl to SwingA1 Slice left [1] Ladies chain A2 Balance ring Partner twirl to swap [2] Neighbor N2 swing B1 Balance ring Partner twirl to swap [2] Neighbor N1 swing B2 Circle left 3/4 Partner swing
Experimenting with a transition used by Bob Isaacs, the Jersey twirl directly into a swing.
Be alert at the ends. When re-entering for the neighbor swings, couples out at the ends need to have the gents on the right, ladies on the left.
See also:
Catch of the DayA1 Weave the line: Zag right past N1, zig left to N2 [2] Neighbor N2 swing A2 Gents allemande left 1 & 1/2 1/2 hey (Pr,Ll,N2r,Gl) B1 Partner right shoulder round Partner swing [3] B2 Ladies chain Circle right 1 [4]
This is my experimentation with the weave the line/swing transition. It needs to be indecent due to hand issues -- those that need to connect first are the support hands on the back. (Gents' left, ladies' right.)
Ebb and FlowA1 (6) Weave the line: Zag right past N1, zig left until N2 ladies are right shoulder to right shoulder [1] (4) Ladies right in the middle: Partner star promenade [2] (6) Clockwise butterfly whirl [3] A2 (8) 1/2 hey (Gl,N2r,Ll) (8) Partner swing B1 (6) Circle left 3/4 (10) Neighbor N2 swing B2 (4) Long lines forward (4) Long lines back while gents roll away neighbor N2 (8) Circle right 1
The weave the line/star promenade transition was inspired by "To Doris" by Birgit Rasmussen.
Fourth FridayA1 Balance wave of four [1] Slide right [2] Balance wave of four Slide left A2 Neighbor pull by right Gents pull by left Partner swing B1 Long lines forward and back Right and left through B2 Circle right 1 & 1/4 Weave the line (zig right, zag left to N2 [3] Form a wave of four with N2 [4]
This dance started with the transition from weave the line to wave of four. I couldn't find room to include this, two swings, and something interesting in the wave, so I dumped the neighbor swing. What was left turned out very similar to "Good Friday." There's been two other dances I know of that are takeoffs of "Good Friday" ("Apples and Chocolate" and "Moving Pieces"), so this dance is "Fourth Friday".
"It's All About Me!"
A1 Circle left 3/4
Pass through
Neigbor N0 allemande left 1
A2 Neighbor N1 right shoulder round
Neighbor N1 swing
B1 (2) Give and take to the gents' side [1]
(4) Weave the line (right, left to N2) [2]
(10) 3/4 hey with N2 (Gl,Pr,Ll,N2r,Gl) [3]
B2 Partner right shoulder round
Partner swing
Written for Diane Duffy, of Arizona, the winner of a contra dance auction at the 2016 May Madness dance weekend.
Slalom SlideA1 As couples, neighbor seesaw [1] 1/2 hey (Gr,Pl,Lr) [2] A2 Neighbor balance Neighbor swing B1 Ladies allemande right 1 & 1/2 Partner swing B2 Circle left 1 & 1/4 Weave the line (zig left, zag right to N2) [3]
Yet another "Joyride" knock-off, stealing the B2 from "Rockin' Robin".
A1 Neighbor balance Neighbor swing A2 Right diagonal ladies chain to shadow [1] Hands-across star left 1 [2] B1 Gents (in star) pull by left while ladies (in different stars) pull by right [3] Partner swing B2 Circle left 3/4 [4] Balance ring Partner California twirl
This is probably best used at a weekend dance. With a high perentage of beginners, dancers won't star all the way around, and then pull by to the wrong side.
Successfully tested by Seth Tepfer in June of 2023.
Do-Si-DidA1 As couples, neighbor N1 do-si-do, turn alone [1] As couples, neighbor N0 seesaw, turn alone [2] A2 Neighbor N1 do-si-do Neighbor N1 swing B1 Gents allemande left 1 & 1/2 Partner swing B2 Circle left 3/4 Balance ring Partner California twirl
The name's one of my favorite malaprops for do-si-do. ("Swing the one you do-si-did.")
It's quite possible to modify this to include six do-si-dos. (B1: Gents do-si-do 1 & 1/2, partner swing. B2: Mad robin, gents seesaw 1 & 1/2.) It's also quite possible for the crowd to spontaneously surge to the front of the hall, and bounce the caller right out the front door.
Gallop SpeedA1 Neighbor balance Neighbor swing A2 Next ladies allemande right 1 & 1/2 [1] Partner swing B1 Ladies chain [2] Long lines forward and back B2 Very end couples sashay/gallop to center [3] Very end couples sashay/gallop back to place [4]
I don't know how original this dance is. I remember dancing the B2 in a contra back in 2002 or 2003 in Philadelphia. Since then I've been unable to uncover any hint of that dance. (Update: I'm suspicious it was "Drunk Drivers" by Greg Frock.) Eventually I gave up looking and wrote something myself, which may be identical to the original dance. Please let me know if you're familiar with the original.
This dance is purposefully double progression so that each couple only has one turn to sashay down and back. This means the dance can support longer lines, yet let everyone have a moment in the limelight.
Jess's ReelA1 Circle left 1 Neighbor swing A2 Long lines forward and back Ones right shoulder round 1, lady one faces out [1] B1 Ones: Lady around two and the gent cuts through [2] Ones: Gent around two and the lady cuts through B2 Ones balance Ones swing, face next neighbors
Typically I alternate this between the ones and the twos, like Jim Kitch's "Alternating Corners."
This was written after watching dancers really enjoy a more complicated dance with the chase figure. So I looked for the simplest expression I could of the figure. It's similar to Melanie Axel-Lute's "Thieves Without Honor" by virtue of convergent evolution.
Named for a cousin who's done some contra dancing in her past.
Not Your Average JoeA1 (4) Ones and lady #2 go down the hall in a line of three, with gent #2 following behind, alone [1] (4) Gent #1: right-hand-high, left-hand-low while gent two faces up. [2] Then both ladies walk forward to join gent #2. (4) Twos and lady #1 go up the hall in a line of three, with gent #1 following behind, alone (4) Gent #2: right-hand-high, left-hand-low, then form a circle of three around gent #1 A2 Those three circle right around gent one [3] Those three circle left around gent one [4] B1 Twos swing, face next Neighbor N2 swing B2 Long lines forward and back Ones swing
This dance was inspired by the very unusual A1 in "The Russell (Version 2)" by Frieda Gratzon. (I can only presume she was inspired by "The Nova Scotian" by Maurice Henniger.) I took the down-the-hall variant, and tried to figure out where to go from there -- the first thing that sprung to mind was "Birdie in the Cage." That figure had already been put into a contra -- "Square Peg in a Round Hole" by Elio Lewis. I borrowed that dance's idea and swing structure, and patched in a double progression.
"Square Peg in a Round Hole" was named for Peg Hesley, and has the lady in the circle. Since the gent's in the circle for this dance, it felt only right to call it "Not Your Average Joe."
As it's an unequal dance, I intentionally made it double progression. For shorter lines, you could convert it to single progression:
B1 Twos swing, face next B2 Forward and back (facing up/down) or circle left 1 Ones swing, continue the dance with these neighbors.Oscar's Oddity
A1 Circle left 1 Neighbor swing/two-hand turn until progressed [2] A2 Long lines forward and back Star right 1 B1 Right and left through [3] Right and left through B2 Ones half figure eight above Twos swing, face next
A dance that started from the gimmick. What was interesting is that the ones could not swing each other, because the swing is an information-destroying figure. Regardless of which side/facing you start at, you must end in the same orientation. So any information of that previous arrangement is lost. (Technically, you could specify different variations for odd and even times through the dance, as per "Gipsey Hornpipe," but you'd melt everybody's brain.)
Not recommended for general use, but good to pull out for April 1st, or if the dancers are seeking novelty.
If you're interested in another take on this, look at "Impropriety," an English Country Dance by Brooke Friendly and Chris Sackett, that I first encountered a few months after writing "Oscar's Oddity." Or check out "Person of the Pond" by Jim Saxe.
Two Steps ForwardA1 Ladies chain to neighbor Long lines forward and back A2 Entire set oval left [1] Ladies center, gents sashay [2] Neighbor N2 swing [3] B1 Neighbor N2 promenade counterclockwise around set (to partner) [4] Gents pull by left [5] 1/2 hey (Pr,Ll,N2r,Gl) B2 Partner right shoulder round Partner swing
Adding the square dance figure "ladies to the center and gents sashay" to a contra. It needs to be carefully taught, otherwise it'll just devolve into "swing the next neighbor." (Not that that's the end of the world, but it kind of deafeats the point of this dance.)
Most contras are written to 32-bar tunes, with 64 beats. But some bands have other tunes of different lengths (called crooked tunes) that I've had fun writing dances to.
A slip jig is a tune played in 9/8 time. From a practical point of view, this means 12 steps per phrase, rather than 16. Slip jigs can be played at the same tempo as regular contras, and some bands like playing them for variety. Including a number of San Diego bands.
There aren't many contra dances written for them. The only ones I knew of are "Another Jig Will Do" and "The Peacock Follows the Hen" by Mike Richardson, "Fan in the Doorway" by Gene Hubert, and "The Joy of Six" by Rick Mohr. And the last two require AABBCC tunes.
(A few more recent ones: "Waxmyrtle," "Green Dreams," and "Hardiman the Fiddler.")
Slip jigs then let you work with a different set of figures, ones that fit in sixes, rather than fours and eights, giving a new set of choreographic possibilities. So I've had fun writing some of my own, exploring that design space. This section should grow over time.
See also:
A1 (12) Neighbor swing A2 (6) Gents allemande left 1 (6) Hands-across star left 3/4, gents turn around [1] B1 (12) Partner swing B2 (6) Ladies chain (6) Crosstrails through (Pr,Nl) [2]
More generic experimentation with slip jigs of the format swing/connector/swing/progression.
Crosstrails through is another figure whose timing fits much better in 6 counts than 4 or 8.
BugabooA1 (3) Neighbor N1 box the gnat (3) Neighbor N1 pull by right (3) Neighbor N0 swat the flea [1] (3) Neighbor N0 pull by left A2 (12) Neighbor N1 swing B1 (3) Gents pass left (9) Partner swing B2 (6) Ladies chain [2] (6) Crosstrails through (Pr,N1l) [3]
The A1 is a mutant hey for three with hands.
Circular LogicA1 (12) Neighbor swing A2 (4) Circle left 1/2 [2] (2) Shift left to next couple (shadow) (4) Circle left 1/2 (2) Shift left to partner B1 (3) Gents pass right [3] (9) Partner swing B2 (6) Long lines forward and back (6) Star left 3/4 [4]
More leaving the minor set. This dance is indecent because of the B2 progression -- only 3/4 of a star fits in six counts.
Gate ExpectationsA1 (6) Ones do-si-do [1] (6) Long lines forward and back A2 (6) Ones gate up and forward with N0 [2] (6) Ones gate down and forward with N1 B1 (12) Ones swing, face down B2 (12) Neighbor N1 swing
A good example of the gate/gate transition is in Corelli's Maggot.
I've struggled hard to fit the timing of gates into a contra dance, especially the gate/gate transition. Once again, slip-jig timing is a much better fit.
This dance can also be done alternating, using:
2A1 (6) Twos do-si-do
(6) Long lines forward and back
2A2 (6) Twos gate down and forward with N0
(6) Twos gate up and forward with N1
2B1 (12) Twos swing, face up
2B2 (12) Neighbor N1 swing
Gemini Six
A1 (6) Neighbor allemande right 1 & 1/4 (6) Ladies allemande left 1 while gents orbit clockwise 1/2 A2 (12) Partner swing B1 (3) Gents pass right [1] (9) Neighbor swing B2 (6) Long lines forward and back (6) Gents allemande left 1
Orbit is another figure that works naturally in sixes. The B2 is a bit unusual, expectations-wise, as gents typically allemande once and a half, not once.
In Jig TimeA1 (12) Square through (Nr,Pl,Nr,Pl) [1] A2 (12) Neighbor swing B1 (3) Gents pull by left (9) Partner swing B2 (8) Ladies chain (4) Star left 1/2
The (no-balance) square through is one of those moves that seems a natural fit for 9/8 timing. I'm not as happy with the B2 timing broken down in fours, but I needed something for the gents that wasn't clockwise.
Structurally this dance is fairly similar to "Round the House" by Bob Isaacs.
Jamie's JigA1 (12) Neighbor swing A2 (6) Neighbor promenade (6) Star left 3/4, gents turn around B1 (12) Partner swing B2 (3) Long lines forward (3) Long lines back, while gents roll away partner [1] (6) Circle right 3/4 [2]
A feasibility study. This was to see if the format of [long swing/connector/long swing/connector] was viable in slip jig format, without being terminally clockwise. (Many transitions into and out of swings are clockwise, and such a format is already 50% clockwise swings.) I stole the star left 3/4 to swing transition from Ted Sannella's "CDS Reel", and the circle right to next neighbor swing from Cary Ravitz's "Whitewater."
Jamie is a San Diego contra dancer who has a low physical tolerance for continuous clockwise motion -- this dance is dedicated to her.
Pousette SextetA1 (6) Partner pousette 1/2 counterclockwise around N1 [1] (6) Partner pousette 1/2 clockwise around N2 [2] A2 (12) Neighbor N2 swing [3] B1 (3) Ladies pass right (9) Partner swing B2 (6) Partner promenade [4] (6) Circle right 3/4
This was the original inspiration for "A Sure Thing." Trying to fit two swings and 12 counts of pousetting into 48 counts forced me to look closely at the pousette/swing transition.
A Slip in TimeA1 (6) Partner promenade (6) Circle right 3/4 A2 (6) Neighbor N1 left shoulder round 1 (6) Neighbor N2 right shoulder round 1 [1] B1 (12) 3/4 hey across (Gl,Pr,Ll,Nr,Gl) B2 (12) Partner swing
My first slip jig contra, written for one of San Diego's bands, Gray Beard.
Slip Sliding AwayA1 (12) Neighbor swing A2 (3) Slice right forward to shadow [1] (3) Slice back, gents rolling away neighbor at same time [2] (6) Circle right 3/4 with shadow, turn alone [3] B1 (12) Partner swing B2 (3) Ladies allemande right 1/2 (9) Neighbor allemande left 1 & 3/4 [4]
There's less time in a slip-jig to add a lost-and-found storyline, especially a counterclockwise one, but this is an attempt at such.
A1 (8) Partner right-shoulder round (8) Partner swing A2 (8) Ladies allemande right 1 & 1/2 (8) Neighbor swing B1 (8) Circle left 1 (8) Circle right 1 (4) Weave the line (zig right, zag left to N2 [1] (0) Form a wave of four with N2 [2] B2 (4) Balance wave of four (4) Slide right [3] (4) Balance wave of four (4) Slide left (2) N2 neighbor pull by right (2) Ladies pull by left
My attempt to write a dance to the orignal (crooked) tune structure of "Cherokee Shuffle."
Chocolate in the Peanut Butter
1A1 Ones balance [1]
Ones swing, face new neighbors [2]
1A2 Circle left 1
Neighbor swing [3]
1B1 [4] Twos individually go clockwise around the outside of the set, [5]
meet in the center [6]
1B2 Twos waltz counterclockwise in the central corridor between the ones,
back to place [7]
2A1 Twos balance
Twos swing, face new neighbors
2A2 Circle left 1
Neighbor swing [3]
2B1 Ones individually go clockwise around the outside of the set,
meet in the center [8]
2B2 Ones waltz counterclockwise in the corridor between the ones,
back to place [9]
A very unusual dance. The A-parts are done contra-tempo, while the B-parts are waltz-tempo. Meaning the band needs a special tune, or to take half of two existing tunes and solder them together.
This dance has two obscure inspirations. One is a Dudley Laufman dance from the early 1970's, "My Home." In that dance the same music is played at jig tempo for the A1&A2, and as a waltz for the B1&B2. The second is the "Spanish Waltz," a mid-19th century waltz contra.
When writing this dance, it didn't work as a contra. With a short set, most of the action would happen beyond the last set of twos. With a long set, the twos would never be active. And in either case you'd need an excessive amount of room at the bottom of the set. So it became an alternating Sicilian circle. The broken symmetry between the ones and the twos was done so that both couples would waltz in the standard counterclockwise line-of-direction.
Jackson StompA1 (4) Gents walk forward to long wave in center (4) Gents balance long wave (4) Gents back out while ladies walk forward to long wave in center (4) Ladies balance long wave (16) Hey (Pr,Gl,Nr,Ll,Pr,Gl,Nr,Ll) [1] (12) Partner swing B1 (4) Balance ring (4) Petronella turn (4) Balance ring (4) Petronella turn (8) Hands-across star left 1 (8) Gents allemande left 1 & 1/2 (12)Partner swing
Written for the band String Bean Serenaders who liked playing the tune "Jackson Stomp." While I didn't intend it, the dance wound up being a gluing together of "Approaches" and "Recombobulated."
This dance was written for to a one-A, one-B version of Jackson Stomp, since the only clear place to end of swings is just before the very balancy top of the tune.
---First couples--- [1] ---Second couples---
A1 Forward and back Partner swing continues
Partner promenade halfway [2] Forward and back
A2 Give+take to gents' side [3] Partner promenade halfway
Neighbor swing Give+take to gents' side
B1 Ladies chain Neighbor swing
Ladies chain Ladies chain [4]
B2 Ladies allemande right 1/2 (4) Ladies chain (8) [5]
Partner swing (4)
Partner swing continues (8) Ladies allemande right 1/2 (4)
Partner swing (4)
A canon is when everyone is doing the same thing, just not simultaneously. "Contra Canon" is an eight-beat canon, where half the dancers are eight beats behind the other half. It's metaphorically similar to singing a song in rounds.
Pat Shaw wrote several amazing dance canons. "John Tallis's Canon" demonstrated how it could work. "Nibs Goes West" (a partial canon) showed how to get partner interaction. These inspired a 4-beat canon of my own, and then the above 8-beat canon.
In this dance, I call half the dancers "first couples" and the other half "second couples." These labels are arbitrary -- I could have instead used "head couples" and "side couples." If you think up better nomenclature, I'd love to hear from you.
In any starting line of four, one of the couples is "first couple" and the other is the "second couple." They essentially do not interact with each other. (There's some subtle stuff, like joining in the star.) All the action is done with the other same-numbered couple in the other line of four.
At the ends, couples should just turn around and face back in. They should not trade places. That way they do not change roles.
Teaching: This dance introduces some very unfamiliar concepts. It definitely needs walkthroughs with two sets of neighbors, to get through the concept that roles do not change, though locations do. Right now, I'm also first walking it through for just the first couples, as the second couples stand still. Then the same for the second couples, though that part I hope to eventually drop. That's a minimum of three walkthroughs, a very worrying number.
Prompting: It's not easy. Calling this was the first time I'd had to read from a card in years. You need to call two dances in the timespace of one. I use beats three through eight of the previous phrase, like "Second couples promenade, first couples give and take." I also recommend calling the second couples' actions before the first. This way you repeat the same instruction twice in a row, which makes memorization less painful.
The roughest patch of prompting is the first half of the B2. Right now my solution is to call "Ladies star right halfway" in the last four beats of the B1. Then on beats 1-4 of the B2 immediately say "firsts swing, seconds (courtesy) turn," followed by "second ladies allemande right half" in beats 5-8.
Cross PurposesA1 Lines forward and back Crosstrails through [1] A2 Corner C3 right shoulder round [2] Corner C3 swing B1 (1-8) Heads right and left through [3] (5-12) Sides crosstrails through [4] (9-16) Heads crosstrails through B2 Partner balance Partner swing
Putting crosstrails through in two different contexts.
The Dancer's Duty
A1 Lines of four forward and back [1]
Opposite (person across from you) allemande right 1 & 3/4
to position of a wave of eight
A2 1/2 hey for eight, start by pulling past that person by right
B1 Original opposite swing [2] [3]
B2 Circle left 1/2 in groups of four [4]
Partner swing, face next
I really liked the idea of Erik Hoffman's "Major Hey," but wasn't happy with its extra 16-count piece. I then ran across "The Devil's Duty" by Al Olson in the back of Zesty Contras, and realized it was exactly what I was looking for. Except both swings end in the middle of the phrase. The above is a simple fix-up. I also changed the entry into the hey -- in the original dance, you turned away from the neighbor you allemanded in order to start the hey, as in "The Astonished Archaeologist." (ECD dance by Phillipe Callens.) But that requires extra teaching to tell people at the ends which way to loop.
The name has no intended meaning, even though I could pretend it did and people would think deeply while trying to come with a better answer than I could ever imagine. But the truth is I was trying to tweak the original name of "Devil's Duty," narrowed the choices to Angel or Dancer, flipped a coin, and Nevada it was.
Another similar fix for this dance is "Devil's Dervish," written by Linda Leslie.
Jenny in Pairs
1A1 Lines of four forward and back
Corner swing [1]
1A2 (6) Same person promenade counterclockwise halfway in group of four couples [2]
(2) Ladies roll back to partner as gents go forward two steps [3]
(4) Partner right-hand balance
(4) Partner box the gnat [4]
1B1 Gents single file promenade clockwise around ladies [5]
Gents turn alone
Gents single file promenade counterclockwise around ladies
1B2 Partner balance
Partner swing [6]
2A1 Forward and back [7]
Corner swing
2A2 (6) Same person promenade clockwise halfway in group of four couples [8]
(2) Gents roll back to partner as ladies go forward two steps [9]
(4) Partner left-hand balance
(4) Partner swat the flea [10]
2B1 Ladies single file promenade counterclockwise around gents
Ladies turn alone
Ladies single file promenade clockwise around gents
2B2 Partner balance
Partner swing
A rewriting of a very old English Country Dance, "Jenny Pluck Pears," in contra form.
When waiting out at the ends, I'd recommend not switching sides for simplicity. That way, you'll always be doing one form of the dance when swinging your neighbor, and the other form when swinging your other partner/shadow.
Piston PousettesA1 Forward and back Right and left through [1] A2 Star left Circle left [2] B1 Half pousette hey (ends, centers, ends, centers) [3] B2 Balance ring of four [4] Partner swing
If dancers don't take the end loops wide, this dance will go badly. See comment [3] for details.
It's possible to patch in a neighbor swing, at the cost of making this significantly less forgiving:
Piston Pousettes Plus by Chris Page Four-face-four A1 Gents pull by left Neighbor (opposite) swing A2 Ladies chain to partner Circle left [2] B1 & B2 as aboveA Properly Proper Hey
A1 Lines forward and back Half figure eight across [2] A2 Same-role neighbor do-si-do [3] 1/2 hey across (r,l,r,l) [4] B1 Balance ring [5] Petronella turn Neighbor swing B2 Balance ring Petronella turn Partner swing
I'd always wondered how to do a proper four-face-four. This isn't it, but it temporarily goes there.
Rush Hour
A1 Partner balance
Partner swing [1]
A2 Lines forward and back while ladies roll away partner [2]
C3 corner swing, form square [3]
B1 --- Heads --- --- Sides ---
(1-8) Forward and back [4]
(5-12) Right and left through
(9-16) Right and left through
(13-16) Ladies chain (begins)
B2 (1-4) Ladies chain (finishes)
(1-8) Ladies chain
(5-16) Ladies chain
(9-16) Ladies chain [5]
(13-16) Extra courtesy turn [6]
Here we have overlapping moves in a square. It was inspired by the zesty version of the original Queen's Quadrille, as called by Beth Molaro.
Watching that video link should explain the above dance -- as soon as one pair of couples clears the center of the square and is busy with a courtesy turn, the other couple starts the next figure.
TandemoniumA1 Forward and back Corner C1 swing [1] A2 Balance ring of eight As couples petronella turn (equivalent of circle right 1/8) [2] Balance ring of eight As couples petronella turn (equivalent of circle right 1/8) [3] B1 Corner C1 star promenade 1/2 (gents in the middle with left hands), back out and reform square [4] Grand ladies chain to corner C3 [5] B2 Partner balance [6] Partner swing
An unusual 4-face-4. It needs careful teaching to avoid some traps, but it got very positive feedback.
Thank you to Martha Wild for the name.
Terpsicontrante
A1 Partner balance
Partner swing
A2 Right and left through across (with your line of four)
Right and left through along (with new opposites) [2]
(face same opposites)
B1 (4) In groups of four, circle left 1/2 [3]
(4) Centers serpentine [4]
(4) In new groups of four, circle left 1/2
(4) Centers serpentine [5]
B2 (4) In new groups of four, circle left 1/2
(4) Centers serpentine
(4) In new groups of four, circle left 1/2
(4) Centers serpentine
A contrafication version of Gary Roodman's English Country Dance, "Terpsicourante." Given that, there was only one possible name for this dance.
Turnstyles
A1 Lines forward and back while ladies roll away partner [1]
Opposite swing, face partner across [2]
A2 Four ladies chain in a line:
(4) Groups of four ladies chain [3]
(4) Centers ladies chain
(4) Groups of four ladies chain
(4) Centers ladies chain, face nearest end [4]
B1 Other neighbor balance [5]
Neighbor swing [6]
B2 Gents star left 1/2
Partner swing
I'd gotten stymied in putting the three-ladies-chain figure in a four-face-four. An A1 of long lines, opposite swing set up the figure, but finished with both gents and ladies in the wrong place, and I could only find messy contortions to bring everyone back together. The solution turned out to be the roll-away in the A1 (similar to that of "Lovely Lane Chain"), which set up the ladies to finish in progressed positions.
In this dance you get to swing both neighbors.
A1 (6) Forward and back (as couples) [4] (6) Circle left 1/2 [5] A2 (6) Partner allemande right 1 (6) Corner C1 allemande left 1 [6] B1 (12) Grand right and left (Pr,C2l,C1r,Pl,C2r,C1l) [7] B2 (4) (grand right and left finishes) (8) Partner swing, face next [8]
There's no need to mention who are twos and threes. Just call them "side couples".
The idea of a slip jig triple minor contra dance started as a running gag between myself and Bob Isaacs, but with one too many Facebook posts I realized I had something viable, with low piece count. While it crosses the phrase, it's probably the best I'll be able to do in a long while.
That being said, you probably don't want to do this unless you're doing a weekend session on really unusual contras.
Minor HeyA1 Ones lead down to next side couples [3] Down the hall in a line of six Turn alone [4] Up the hall in a line of six Ladies turn around, form wave of six A2 Balance wave of six [5] Middle four slide right, ends turn around [6] Balance wave of six Middle four slide left, ends turn around [7] B1 Partner right-hand balance 1/2 hey for six (Pr,l,r,l,r,l) [8] B2 Partner balance Partner swing [9]
This dance actually benefits from packed sets in the up-down direction, as it puts six people in the space of four. To compensate, it bloats out to the sides, so you don't want too many sets.
The Rory o' More interaction in the A2 could be done with partner if the gents turn around at the end of the A1. But I chose this more complex version to give some desperately needed neighbor interaction.
This dance started as a hey for six triple minor dance. But since I needed more filler, I added the "Rory o' More" interaction, and then realized the similarities to "Major Hey," an Erik Hoffman dance with a half hey for eight. Hence the name "Minor Hey."
Right and Left TriangleA1 Twos and threes right and left through [3] Ones and twos right and left through [4] A2 Ones and threes right and left through Ones and twos right and left through B1 Partner promenade halfway, face next [5] Forward and back [6] B2 Partner balance Partner swing
Because the triple minor formation is very unfamiliar to most contra dancers, any sequence needs to be more forgiving, repetitive, and/or simpler. The above is a simplification of an untested version with a neighbor swing.
Rufty RainbowsA1 With partner, forward into center [3] Turn alone Lead out corner C1 [4] Corner C1 California twirl, moving out [5] With corner C1, forward into center Turn alone Lead out corner C2 [6] Corner C2 California twirl, moving out A2 With corner C2, forward into center Turn alone Lead out partner Partner California twirl, moving out [7] Gents star left 1 B1 Partner allemande right 1 & 1/2 Ladies star left 1 B2 Partner right shoulder round Partner swing [8]
There's a square dance figure called "Rainbow Stroll." I just built a contra dance around it.
This dance needs some room as people lead out.
Something BorrowedA1 Ladies grand chain one place [3] Ladies grand chain one place A2 Hands-across star left [4] Hands-across star right B1 Make an arch. Bottom gent pulls his partner into a swing. [5] Next gent does the same, then third. All partner swing B2 Partner promenade halfway, face next [6] Forward and back [7]
A dance built around the key figure of "The Borrowdale Exchange" by Derek Haynes. Given that, there was only one name for this dance, even if it's been used before as a triplet by Stew Shacklette.
When teaching this dance, I first like to give the short version of the dance -- all six circle left 1/2, swing partner, then face the next -- ones face down, others face across and uppish. That gives them their final target positions. Then I have them come back and do the real dance.
There is no need to give the twos and threes numbers. Just refer to them as side couples.
The timing on this dance is forgiving. In the B1, couples should not get out of order from their original circle, but this can be fixed in the promenade.
TLC Tempest
A1 Partner balance
Partner swing
A2 Down the hall in a line of six, turn as couples
Up the hall. Sides face across. Ones (centers) face right [4]
B1 Three ladies chain: [5]
Lady 1 and Lady 2 chain (4)
Lady 2 and Lady 3 chain (4)
Lady 3 and Lady 1 chain (4)
Lady 1 and Lady 2 chain (4)
B2 Three ladies chain continues:
Lady 2 and Lady 3 chain (4)
Lady 3 and Lady 1 chain (4 or 8)
Ones lead down to next side couples (4) [6]
while twos and threes partner left shoulder round (4 or 8) [7]
The three-ladies chain figure is a traditional western square dance figure from the first half of the 20th century. (Now watchable on Youtube.) In that context, the number one couple would lead out to the right, and interact with both side couples simultaneously.
For a triple minor, this dance is rather forgiving. It has a piece count of four, a forgiving progression, and a long partner swing. And it's all-active, except for waiting out once or twice at the top/bottom.
For the teaching, you never need give the numbers of the side couples. Just call them "side couples."
(This dance was revised in December 2011 to clean up the progression. The original version had the progression in the middle of the down-the-hall.)
Wagon ReelA1 Twos and threes (side couples) balance ring [3] Gent two and gent three trade places [4] Ones swing twos, face across [5] A2 Lines of three forward and back [6] Wagon wheel clockwise 3/4 [7] B1 Partner right shoulder round Partner swing B2 Down the hall in a line of six [8] Ends turn as couples, centers (ones) turn alone Up the hall Bend the line and face across [9]
There's a number of square dance figures called "Wagon Wheel." This particular one I got from a "Forward Up Six and Six Fall Back" variant called "Wagon Wheel." (See "On the Beat With Ralph Sweet" for details.) It could be thought of as a kind of facing star for six.
Three-couple set dances created by Ted Sannella. Couples are numbered one, two, and three, and switch places each time through the dance. They are traditionally danced nine times through. See "Zesty Contras" for more details.
Over, Under, and ThroughA1 Circle left 1/2 [2] Lines of three forward and back A2 Right-hand-high, left-hand-low [3] Ends swing neighbor [4] B1 Down the hall in a line of six [5] Right-hand-high, left-hand-low [6] Up the hall in a line of six Bend the line [6] B2 Circle left 1/2 Top and bottom couples swing partner [7]
The core of this dance was the right-hand-high, left-hand-low to swing transition. But there was room for another use of the figure in the B1.
I recommend music with distinctive A and B parts, as there's two circle lefts.
The name comes from the lyrics of the song, "Over, Under, Around and Through."
Right and Left Triplet
A1 Ones and twos right and left through, with power turn in the middle [1]
Ones and threes right and left through, with power turn in the middle [2]
A2 Twos and threes neighbor balance and swing while
ones partner balance and swing [3]
B1 All six right and left through [4]
All six right and left through
B2 Circle left 1/2 [5]
Partner swing [6]
Inspired by Colin Hume's discussion on hexagonal squares. I got rid of the three side couples and wrote a triplet.
Tea for ThreeA1 As couples, go forward and back into center Grand ladies chain 1 place [2] A2 Opposite do-si-do [3] Opposite swing, face up B1 Top couple cast to bottom, others follow [4] At bottom, top couple starts progressive grand right and left (R,L,R) [5] B2 Grand right and left continues (L,R,L) [6] Partner swing, reform set [7]
This triplet was inspired by the square "Teakettles" by Ron Buchanon.
Be careful that you have the correct two couples Becket. If you have the bottom two couples Becket, it becomes a mixer.
TLC Triplet
A1 (8) Ones and twos right and left through, with power turn in middle [1]
Three ladies chain: [2]
(4) Lady 1 and Lady 3 chain at bottom
(4) Lady 3 and Lady 2 chain at top
A2 (4) Lady 2 and Lady 1 chain at bottom
(4) Lady 1 and Lady 3 chain at top
(4) Lady 3 and Lady 2 chain at bottom
(4) Lady 2 and Lady 1 chain at top [3]
B1 Ones and threes neighbor balance and swing [4]
B2 Forward and back [5]
Partner swing [6]
This puts the three ladies chain figure into its most logical formation -- a triplet. See "TLC Tempest" for this figure set in a contra.
Not an area of active choreographic interest, because I haven't called or researched them enough to truly understand them. But once in a while inspiration hits...
XenotransplantationA1 Heads forward and back Heads swing opposite (C2), face nearest sides [2] A2 Four ladies chain in a line: (4) Groups of four ladies chain [3] (4) Centers ladies chain (4) Groups of four ladies chain (4) Centers ladies chain, face nearest sides B1 Corner C3 balance and swing B2 Corner C3 (new partner) promenade to gent's home
Call heads, heads, sides, sides. With breaks to taste.
I took a variant of a traditional square figure, and grafted it into a square to appeal to modern contra dancers. Hence the name.
As I've started learning to call squares in a region pretty well unfamiliar with them, I'm looking hard for very simple breaks that a) require almost no teaching time, and b) cover any swing deficit in the main figure of the square. I really doubt any of these are original, but I'm including them in hopes that others might find them useful in their own crusades.
Petronella Swing Break
A1 Balance the ring (all 8)
Petronella turn
Corner swing
A2 Balance the ring (all 8)
Petronella turn
Next corner swing ("someone new")
B1 Balance the ring (all 8)
Petronella turn
Next corner swing
B2 Balance the ring (all 8)
Petronella turn
Partner swing
As long as they know petronella turns and who their corner is, they're set to go. If they're aware of the concept that a corner is a place rather than a face, then there's no need to walk through any of this.
This is a quick way to swing everyone. Gents go nowhere, ladies go around the square.
Rolling BreakA1 Forward and back (all eight) [1] Gents roll away corner [2] Gents roll away (new) corner A2 (Newer) corner swing (original right-hand lady/left-hand gent) Forward and back (all eight) B1 Gents roll away corner Gents roll away (new) corner (Newer) corner swing B2 Forward and back (all eight) Gents roll away corner Gents roll away (new) corner C1 (Newer) corner swing Forward and back (all eight) C2 Gents roll away corner Gents roll away (new) corner (Newer) corner swing (original partner)
Remember, corner is a position, not a person. Gents always look left, ladies always look right to find their new corner.
Once again, a way to swing everyone with a repeating pattern. My idea was the forward and back is done completely (all eight counts), and then still holding hands start the two consecutive roll aways. But if you find it better to do the roll away as the lines are going back, that should also work.
This break ends with everyone on the other side of the set, so you'll need the equivalent of a circle left 1/2 to get everyone home. If you want to phrase this nicely to 32-bar tunes, you could try one of the following:
D1 Partner promenade 1/2 Partner do-si-do D2 Partner balance Partner swing
or:
D1 Corner allemande left 1 Grand right and left (Pr,l,r,l) D2 Partner balance Partner swing
or something of your own devious devising.
During the COVID-19 pandemic that started in 2020, people held virtual contra dances using the meeting software Zoom. Musicians played while a caller promped adapted dances for people quarantined at home. Options included dancing solo with ghosts, with a remote partner you would pin to your video screen, or the partner you lived with.
The formations tend to be ambiguous. The choreography is still being figured out -- two swings are a liability, and assisted momentum changes (like from an allemande left to an allemande right) are problematic, yet there is still a need for counterclockwise motion.
Dances written for a single couple. They often will not work with a foursome, but may at times need ghost dancers to make an imaginary foursome.
AsidesA1 Mad robin counterclockwise around partner, facing up (camera) [1]; face partner Mad robin counterclockwise around phantoms below, facing partner [2] A2 Figure eight 1/2 down through phantoms [3] Figure eight 1/2 down through phantoms, but ricochet with partner when you're about to cross through the middle [4] B1 Partner do-si-do Partner swing, face down B2 Partner lead down 1/2 sashay (counterclockwise) around partner, turn alone [5] Parter lead up
Untested, but it should work. (Granted, with just one person or two people, it's hard to write something that completely fails.)
Cloverleaf Exchange
A1 (4) Partner lead down
(4) Turn as a couple
(8) Partner lead up [1]
A2 (4) Cloverleaf turn single (Gl,Lr) [2]; face across [3]
(2) Pass partner right
(4) Cloverleaf turn single (Gl,Lr); face down
(2) Pass phantom right [4]
(4) Cloverleaf turn single (Gl,Lr); face across
B1 Partner do-si-do
Clockwise mad robin 1 around phantom above [5]
B2 Partner balance
Partner swing [6]
The A2 figure is also similar to "goalpost" square dancing from the 1950's, where the sides were posts, and the heads would pass through, separate, and go around one (static side person), then repeat. For an example, see "The Auctioneer."
Crossings
A1 Figure eight 1/2 up around phantoms above
Figure eight 1/2 down around phantoms below [2]
A2 Petit fours: [3]
(3,1) Lead up with partner; face partner [4]
(3,1) Fall back from partner; face down
(3,1) Go down outside; face partner [5]
(4) Come forward towards partner [6]
B1 Hey for four like thing: [7]
(4) Pass partner right
(4) Turn single left [8]
(4) Pass partner right
(4) Turn single left
B2 Partner right shoulder round
Partner swing [9]
The inspiration for this dance, the A2, is taken from "Mary K", though it could also be thought of as one couple's path in a grand square.
First called on 9/20/2020 by Seth Tepfer.
Double-oh ZeroA1 (4) Ghost #1 right-hand balance (4) Grand right and left: Ghost #1 pull by right, ghost #2 pull by left [2] (4) Ghost #3 right-hand balance (4) Ghost #3 box the gnat; face partner A2 (6) Grand right and left: Ghost #3 pull by right, ghost #2 pull by left, ghost #1 pull by right (6) Partner left shoulder round [3] (4) Turn single right [4] B1 (4) Partner balance (12) Partner swing, face up B2 (4) Partner lead up [5] (4) Cast down to place (8) Partner allemande left [6]; face away from partner
Yet another adaptation of "Three Thirty-Three" by Steve Zakon-Anderson. The original version had each person going down separate but parallel contra lines -- thank you to other callers who pointed out it could be simplified.
Hallway Hop
A1 (4) Partner heel;toe;heel;toe [2]
(4) Partner sashay down
(8) Partner allemande right 1 & 1/2 [3]
A2 (4) Partner heel;toe;heel;toe [4]
(4) Parter sashay up
(8) Partner allemande left 1 & 1/2 [5]
B1 Turn contra corners (with phantoms/ghosts) [6]
B2 Partner balance
Partner swing [7]
And now my attempt to choreograph something completely different.
The signature figure is taken from the circle mixer "Patty-Cake Polka".
Split InfinitiveA1 Balance wave of two Slide right [2] Half hey: Pull left by partner, loop right [3] A2 Balance wave of two [4] Slide left Half hey: Pull right by partner, loop left B1 Partner right shoulder round Partner swing, face up B2 Partner lead up, cast down [5] Partner allemande right [6]
The A1 and A2 are inspired by the Bob Isaacs dance, "Banana Split."
Staying HomeA1 Lead down the hall, turn alone Lead down the hall (backing up) Lead up the hall, turn alone Lead up the hall (backing up) A2 Balance partner [1], gents roll away partner [2] Balance partner, ladies roll away partner B1 Counterclockwise mad robin around partner (facing down), turn alone (ccw, over left shoulder) Counterclockwise mad robin around partner (facing up) B2 Partner balance and swing
The A1 is lifted from dances like "Leaving Home" by Al Olson. So, there was only one possible title for this. The A1 is also similar to the signature figure from the Gay Gordons.
Dances for a two-couple set, with the first couple crossed over, like a standard duple-minor hands-four. Except here there's no progression, or other minor sets to crash into.
Also, most of these are written with the expectation of just one couple or person, so they're very partner-centric.
Counting Flowers on the WallA1 As couples, go forward and back [1] Ones arch, twos dive [2] Partner California twirl A2 Circle left 1 Twos arch, ones dive Partner California twirl B1 Circle right 1 Balance ring, petronella turn B2 Partner balance Partner swing [3]
Once through the dance rotates the set 90 degrees counterclockwise, so you're facing a new wall each time through the dance for variety.
Meant to be done as a virtual dance, so some of the people will be ghosts, though it can work as a full hands-four. Named for an appropriate song during a pandemic -- here's my favorite cover of it with Beaker.
Ferreting AroundA1 Mad robin clockwise 1/2 around partner [1]; face partner Mad robin counterclockwise 1/2 around neighbor [2] With neighbor, as couples seesaw around partner [3] A2 Mad robin counterclockwise 1/2 around neighbor; face neighbor Mad robin clockwise 1/2 around partner With partner, as couples do-si-do around neighbor B1 Square through 3 (Nr;Pl;Nr) [4] Partner do-si-do B2 Partner balance Partner swing
Based off an auction dance I wrote a few years ago (and sometime will publish), "Flirting Ferrets."
For non-virtual dances with a full hands four, you can include a partner change. In that case, B1 is a full square through with balances, starting with neighbor. B2 is neighbor (new partner) balance and swing. (With just one or two dancers, changing roles and swing facing directions is too confusing.)
RotaryA1 Neighbor pousette counterclockwise 1/2 [1] Face partner Partner pousette counterclockwise 1/2 [2] A2 Gents allemande right 1 while ladies orbit counterclockwise 1/2 [3] Counterclockwise ricochet with partner [4] B1 Partner right shoulder round Partner swing [5] B2 Partner promenade counterclockwise 3/4 [6] As couples, go forward and back [7]
The A1 inspiration for this dance was taken from one of the pieces of the ECD dance "Jubilation" by Brooke Friendly and Chris Sackett.
You Can Get Here From HereA1 Balance wave of four Slide right [2] Balance wave of four Slide left A2 Partner balance Partner swing B1 Partner promenade Circle right 1 B2 Balance ring Petronella turn Balance ring Petronella turn; form wave of four
Written on the spot on 9/5/2020 during a zoom discussion about virtual contras, where various people were trying to rewrite Linda Leslie's "You Can Get There From Here". Named by Penelope Weinberger.
Intended for one person or one couple, with the 4-person stuff to be done with ghosts/phatoms. While this could be done as a doublet (or even a contra if you looped wide during the promenade), it'd get pretty boring as it's partner-only.
Stuff that defies easy categorization.
A1 Lines of three promenade past two "couples," facing new sevenpin in original direction. [3]
A2 Six people star right [4] while sevenpin orbits counterclockwise [5]
Six people star left while sevenpin orbits clockwise [6]
B1 Sevenpin chooses someone, and balances and swings that new sevenpin
Others return to original lines [7]
B2 Old sevenpin joins line of two, lines do basket swings for three while
new sevenpin stays in middle. [8]
You probably don't want to call this one. While it is danceable, it's too far outside of the standard contra repertoire. I include this more to get people to think more about alternate formations, and different ways the contra tradition could have evolved.
This dance started as an attempt to include the figure "Birdie in a Cage" into a contra dance, though it's already been done.) But it kept diverging and mutating till I realized I had something closer to the traditional square dance "Ninepins."
My first attempt at the dance had the other five dancers circling around the swingers in the B1, but it turned out to be too complex for people to sort themselves out in time for the B2.