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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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Circle mixers

Scatter mixers

Contras

Crooked contras

Four-face-fours

Triple Minors

Triplets

Squares

Square dance breaks

Virtual contras

Other


Circle mixers

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 Mixer
a Chris Page variant of a Bill Olson dance
Circle Mixer
(starts in waves of two, right hand to partner, gents in the middle) [1]
A1 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]
[1] Gents are facing counterclockwise around the circle; ladies are facing clockwise around the circle. Gents are in the center; ladies are in the outside. And right hand to this current partner.
[2] As everyone goes forward on the right diagonal, they can spin clockwise as in "Rory o' More" as used in "Eleanor's Reel." It's probably more important here than in "Eleanor's Reel," as the waves of dancers are more tightly packed together. The spin uses up time.
At the end of this, gents are facing counterclockwise on the outside of the set, ladies are facing clockwise on the inside of the set, left hand with partner P2.
[3] As everyone goes forward on the left diagonal, they can spin counterclockwise as in "Rory o' More" as used in "Eleanor's Reel." At the end of this, gents are facing counterclockwise on the inside of the set, ladies are facing clockwise on the outside of the set, right hand with partner P3. Though it really doesn't matter as they're about to balance and swing.
[4] An alternate choice here is forward and back. I just went with circle left to mimic the original contra.
[5] This sets up the next A1. The direction of the lady's turning depends on your local promenade hold. If the promenade is in skater's position (both arms in front), then the lady turns 180 degrees counterclockwise. If the promenade is done with the gent's right arm behind the lady's back, then the lady turns 180 degrees clockwise.

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 Mixer
by Chris Page
Circle Mixer
Quadruple Progression
A1 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]
[1] A left shoulder do-si-do.
[2] Face away from corner, give right hand to current partner to start the grand right and left.
[3] This is where lost couples can come in, hopefully in a completely different section of the room where they may have more experienced same-role shadows in front of them..

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
by Chris Page
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]
[1] To start the walkthrough, gents turn around and take left hands with their partner to form a circular wave. They do very little with their original partner. If for some reason you wanted them to swing their original partner, then for the initial set-up:
Have everyone face their partner, pass them by, and with the next allemande right about halfway to a circular wave, gents face out and ladies face in. But it's really not worth this headache.
[2] After the balance, ladies face counterclockwise, gents face clockwise.
[3] After the box the gnat, ladies are facing clockwise, gents are facing counterclockwise.
[4] Until everyone's facing the center of the circle.
[5] Ladies go to their right. While the gents stand still, the ladies walk to their right in front of one (P2), then behind the next (P3), reforming the circle. Before the weave, it can be helpful for the ladies to identify the two gents to their right. The weave does does not involve the person they courtesy turned with.
Typo fixed 10/5/2017, where I originally said ladies were weaving clockwise around the entire circle. Thank you to Erik Erhadrt for pointing that out.
[6] Ladies look left, gents look right. It's the person the ladies weaved behind.
[7] This transition depends on the promenade hold.
If the gent's right arm is behind the lady's back (varsouvienne or courtesy turn position), then use the right hand to pivot the lady around 270 degrees clockwise, while the gent steps forward and to their left.
If it's in skater's position (both arms in front), the ladies take a step back and to their left, while gents take a step forward and to their left.

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 Mixer
a Chris Page variant of a Bob Dalsemer dance
Circle Mixer [1]
A1 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)
[1] Starts in a circular wave, gents face out, ladies face in, right hand to new partner. If you want people to interact with their original partner the first time through the dance, then have them switch places (gent on the right) before the gents turn around.
[2] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their current partner. They can spin clockwise if they choose. (Counterclockwise when they later slide left.) Now they have left hands with current partner, gents still facing out.

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
by Chris Page
Circle Mixer
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
[1] The person you swung at the end of the previous B2 is partner P1. Your corner is P2. Your next corner is P3.

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.


Scatter mixers

Basket Chase
by Chris Page
Scatter mixer
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
[1] As people start scatter promenading individually, they should pick up people and scatter promenade as small lines of about 3-6 people. Lines should close up into circles by very early in the A2.
[2] Circles come in closer, putting hands on each other's backs, and everyone does a buzz-step. At the top of the B1, the swing balloons back into a circle.

Here, not only are people scattering, but so are lines.

This dance is completely gender role independent.

Star Stuff
by Chris Page
Scatter Mixer
A1 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
[1] The promenade should be done in star-promenade style -- i.e., arms on each other's backs.
[2] There's a tendency for the stars to start forming early in the A2. I may rewrite the dance at some point to take account of this, or just leave things as they are. Stay tuned.
[3] Too many people in the star will make the butterfly whirls unpleasant or dangerous, so this is a good point to stress during the walkthrough. The star could just be an allemande with one other couple.
[4] The couple needs to go around halfway, or one and a half times, or two and a half. The key points are the ladies finish in the center, and nobody is pulled off their feet.

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.


Contras

Arch contras

See also:

Four's a Crowd
by Chris Page
Improper
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
[1] This is the mirror image of a star through.
Ones raise their already joined hands. Lady one walks clockwise 180 degrees under the arch while crossing the set. Meanwhile gent one crosses the set tracing a counterclockwise arc. It finishes with ones facing down, lady one on the left.
[2] Lady one leads her partner into the circle left. The circle continues until lady two is on the outside of the set, facing her partner, with the ones in her way.
[3] Ones make an arch and gently propel lady two under the arch and across the set, where her partner catches her for a swing. Ones then also swing their partner.
[4] Ladies cast/loop/turn over their right shoulder out of the star, and face the same neighbor.

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 Clearance
by Chris Page
Improper
A1 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
[1] Ones take nearest hands, and arch, and then everybody individually do-si-dos their neighbor. In the first part of the do-si-do, lady 2 will go under then arch. In the second part of the do-si-do, gent 2 will back up under the arch.
[2] Same thing, except now ones let go, and twos make an arch.

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]
by Moose Flores and Chris Page
Becket
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
[1] Named after the slinky toy, because the action of the ones in the B1 feels like the slinky toy moving forwards.
[2] Ones are the couple progressing down the set. You'll likely need to identify which side of the set that is.
[3] The best way to understand this figure is by watching this video. The twos are always individually going under the arch formed by the ones. (In the video, there's only about 70% compliance since I didn't demo it.)
Ones keep left hands out of the star, and make an arch. Gent one stays in place while he assists his partner as the ladies trade by left. Then lady one stays in place while she assists her partner as the gents trade by left. Repeating all that returns everyone to their starting places.

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.

Videos: (#1) (#2)


Circle right contras

See also:

Mary Loo's Reel
by Chris Page
Becket
COMPLEX
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
[1] At this point, your future neighbor is on the left diagonal. Your shadow is next to you in line.
[2] After the first allemande, gents are in a temporary long wave in the center, facing their partner.
[3] End effects are tricky. Ladies should stay put during the A1. At the ends, lost gents need to find a lady who isn't being swung. That's probably either their partner (if part of a hands four) or their shadow (if a lone couple out at the end).
[4] Finish facing shadow.
[5] To do the circle right/left transition, everyone needs to drop hands and turn alone.
One nice teaching I've seen of this is to hold the circle right, then face your neighbor and take two hands with, and then open up into the circle left with the other folks.

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 Right
by Chris Page
Becket
COMPLEX
A1 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
[1] Progression is after this hey. It might help to identify N2 at the beginning of the dance, on the left diagonal.
[2] A two-hand turn crossed with a circle right. Finishes with gent on the left, lady on the right.
[3] The circle/hey transition is stolen from "Mood Swings" by Sue Rosen. The circle is actually 7/8, till ladies are on the outside forming a diamond. Gents then step into the middle, ending back-to-back and facing their partner. The hand-hold from the circle lets the ladies assist them through that transition.

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.

Visions
by Chris Page
Becket
A1 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
[1] A mad robin is a sideways do-si-do, ladies starting in front of their neighbor.
[2] The circle/hey transition is stolen from "Mood Swings" by Sue Rosen. The circle is actually 7/8, till ladies are on the outside forming a diamond. Gents then step into the middle, ending back-to-back and facing their partner. The hand-hold from the circle lets the ladies assist them through that transition.

Vous-Rendez
Chris Page variant of a Dan Pearl dance
Becket, counterclockwise
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
[1] With ladies leading their partner. Ladies have to lead a lot in this dance -- the entry into the circle right, the shift right, and they can even assist their partner into the seesaw.
[2] Until ladies are back on their original side. All are across from their partner.
[3] Seesaw is just a left-shoulder do-si-do.
[4] Or right shoulder round and 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.


Circulate contras

See also:

24/7
by Chris Page
Becket, counterclockwise
Double progression
COMPLEX
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]
[1] The 1/2 is approximate, the end position is the key.
[2] Gents face out, ladies face in. Neighbor N2 is in your left hand, and will be an important walkthrough reference later.
[3] Circulate: Ladies walk straight across the set to their partner's place while gents loop right to their neighbor's place.
[4] Circulate: Gents cross the set to their neighbor's place, ladies loop right to their partner's place.
[5] Right to partner, ladies have left hands in center.
[6] End effects: If there's a couple out at the end, switch with them. If there is no couple out at the end, just stay with your partner. More precisely, loop right into your partner's place instead of going forward on the right diagonal.
[7] Your right hand is holding neighbor N2. Gents are in the middle of the wave of four. [2]
[8] Finish facing neighbor N3.

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
by Chris Page
Becket, counterclockwise
Double progression
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
[1] Circulate: Gents will pass right shoulders with another gent as they walk forward on the right diagonal to a new wave, taking left hands with the second gent, and right with N2.
End effects for the gents: If there's a couple out at the end, switch with them. If there is no couple out at the end, just stay with your partner. More precisely, loop right into your partner's place instead of going forward on the right diagonal.
(Typo fixed 8/7/2018: I originally described gents as passing left shoulders with another gent coming at them. Thank you to Peter Stix for pointing out it's right shoulders.)
[2] Circulate: Ladies will pass right shoulders with another lady as they walk forward on the right diagonal to a new wave, taking left hands with the second lady, and right with partner.
End effects for the ladies: Go find your partner. If there's a couple out at the end, switch with them. If there is no couple out at the end, just stay with your partner. More precisely, loop right into your partner's place instead of going forward on the right diagonal.
[3] Forming the wave helps establish the double progression, and make sure everyone's offset correctly after the 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
[4] Dancers double progress forwards, then later single progress backwards. This creates multiple times out at the ends, and an interweaving of meeting neighbors.

This complicates the end effects by kicking out couples multiple times, with the double forward/single back progression. Use with caution.

Out of Circulation
by Chris Page
Improper (long wave) [1]
A1 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]
[1] Starts in long waves, right hand to neighbor, gents face out, ladies face in.
[2] Circulate: Ladies cross the set to their partner's place, gents loop right to their neighbor's place.
[3] Circulate: Gents cross the set to their neighbor's place, ladies loop right to their partner's place.
[4] Keep left hand with this neighbor, and take right with the next to form long waves.

Out of the Box
by Chris Page
Becket
COMPLEX
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
[1] The progression happens here. Promenade across, and in the courtesy turn loop a little further counterclockwise around the major set to face N2.
[2] At the end of the star, keep left hands with partner, take right hands with shadow to form long waves, gents face out and ladies face in.
For most of the rest of the dance, you're dancing in the hands-four with your shadow and the neighbor from the star.
[3] Circulate: Ladies cross the set to their neighbor's place, gents loop right to their shadow's place.
[4] Circulate: Gents cross the set to their shadow's place, ladies loop right to their neighbor's place.
[5] The same neighbor that was in the star.
[6] Your shadow is in the circle.
[7] Pass your shadow by your right to be reunited with your partner.

Thank you to Seth Tepfer for testing this one at the 2020 Supersonic Contra Dance weekend in Seattle.

Video: (#1)

Rounding Third
by Chris Page
Becket, counterclockwise
A1 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
[1] This roll away is here to keep the B1 progression improper rather than indecent.
[2] To long waves, gents face in, ladies face out, left hand to partner.
[3] Circulate: Gents cross the set to their neighbor's place, ladies loop left to their partner's place.
[4] Circulate: Ladies cross the set to their partner's place, gents loop left to their neighbor's place.
[5] Immediately look for the next neighbor to 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 Wraparound
by Chris Page
Indecent (long wave) [1]
A1 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]
[1] Dancers waiting out at the ends rejoin with the gent on the right, lady on the left. However, if they enter on the wrong side and don't panic, things get fixed up with the partner swing. The "not panicking" is key here.
[2] Starts in long waves, right hand to neighbor, gents face in, ladies face out.
[3] Circulate: Gents cross the set to their partner's place, ladies loop right to their neighbor's place.
[4] Wrist-grip star recommended. To transition into long waves, keep left hand with partner, take right hand with shadow. Gents face out and ladies face in.
[5] Circulate: Ladies cross the set to their neighbor's place, gents loop left to their partner's place. The A1 then starts by identifying new neighbors.

An experiment with circulate in one hands four to circulate with the next.


Crosstrails through contras

See also:

Doubling Back
by Chris Page
Becket
COMPLEX
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
[1] Face the new couple on the left diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet.
[2] Pass through across the set, passing partner by right shoulder. Turn to face neighbor, then pass through along the set by left shoulder, and find the previous neighbor.
[3] Pass through across the set, passing partner by right shoulder. Turn to face neighbor you just swung, then pass through along the set by left shoulder, and find the current neighbor.

While you leave the minor set, all progressions are with the gent on the left, lady on the right.

Trail Markers
by Chris Page
Becket
A1 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
[1] Pass through across the set, passing partner by right shoulder. Turn to face neighbor, then pass through along the set by left shoulder. This is the progression.

Written as a simple crosstrails through dance.

Video: (#1)

Trail to the Stars
by Chris Page
Becket [1]
A1 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
[1] At the start of the dance, your shadow is next to you.
[2] Pass through across the set, passing partner by right shoulder. Turn to face neighbor, then pass through along the set by left shoulder. This is the progression.
[3] Until you're back on your original side of the set with your partner and shadow.
[4] If you really wanted, you could call the dance without the shadow shoulder-round. Just go straight into the partner right shoulder round and swing.

I've never been happy with crosstrails through timed at four or eight beats. This dance is my attempt to split the difference.


Down the hall in lines contras

See also:

Here and There
by Chris Page
Improper
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
[1] Typo fixed on 1/28/2009. Original erronious transcription had the allemande going once and a half.

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 Lines
by Chris Page
Improper
A1 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
[1] Ones in the center.
[2] To start the circle, bend the line by twos taking hands with each other. To end the circle, lady one lets go of her partner, and opens up to a line facing up, with twos in the center.

Inspired by dances like "Hickman's Hey," and other more obscure ones.


Facing star contras

See also:

Go With the Flow
by Chris Page
Becket
A1 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
[1] Face the new couple on the left diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet.
[2] On the side of the set. Note the gents are rolling in front of the ladies.
[3] Or at least most of a rollaway. Gents do a little bit less, and stop when they're facing across. Ladies do a little bit more, and after sidesteping, turn to face their partner across.
[4] Gents take right hands. Ladies take left hands above that. Keep free hand with partner. The whole thing rotates clockwise.
Typo fixed 5/24/2016: Facing star only goes 3/4 around.

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:

Improper
A1 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

[1] New gents, on the left diagonal.
[2] On the side of the set. Note the gents are rolling in front of the ladies.
[3] Gents take right hands. Ladies take left hands above that. Keep free hand with neighbor. The whole thing rotates clockwise.

Lemniskating
by Chris Page
Improper
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
[1] Gents take left hands. Ladies take right hands. Keep the other hand joined with your partner. The whole thing rotates clockwise, gents backing up.
[2] With previous neighbors -- gents take right hands. Ladies take left hands. Take free hand joined with partner. The whole thing rotates counterclockwise, gents backing up.

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 Time
by Chris Page
Indecent [1]
A1 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]
[1] Indecent formation has the lady on the left, gent on the right.
[2] Gents take right hands. Ladies take left hands above that. Keep other hand with partner. The whole thing rotates clockwise.
[3] Or for a more advanced crowd, pass through across, then California twirl with neighbor.
[4] An other-handed California twirl: Gents' left hand, ladies' right, make an arch, and trade places, lady going under the arch. Finishes with all interacting with new neighbors, but keeping that hand with your partner (and facing partner) as the rest of the facing star forms.
Also known as a "Jersey Twirl."

Experimentations with entries into a facing star.

Stellar Evolution
by Chris Page
Improper
A1 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
[1] As in the dance "Rory o' More," ladies sidesteps to their right, passing nose to nose with each other. They can spin clockwise if they choose. They then take left hands.
Gents left go of right hands long enough for ladies to spin past.
It's important that at the start of this figure, the ladies stay facing their original directions, keeping right hands in a 2-person wave. Otherwise during the walkthrough the ladies may face each other as soon as the gents let go.
[2] Ladies keep left hands. Gents take right hands below that. The other free hand is joined with your partner. The whole thing rotates clockwise, ladies backing up.

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.


Grand right and left contras

See also:

A Proper Whoosh
Chris Page variant of a Becky Hill dance
Proper
COMPLEX
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]
[1] End effects: Unlike most contra dances with grand right and lefts, you do not wrap around at the ends. Instead, turn around and stay in your same-role line. It's like doing a hey with hands on the side.
[2] Gent two and lady one face in. Gent one and lady two face out. You are in progressed positions, and have neighbor N1 in your right hand.
[3] Circulate: Gent two and lady one cross the set. Gent one and lady two turn around, or loop into their same-role neighbor's place.
[4] Above around the twos you just danced with.
[5] This identifies the neighbor that begins the next grand right and left.

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 Danced
by Chris Page
Improper
A1 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]
[1] Pull by neighbors on the side until you reach neighbor number four. Wrap around at the ends. See "Salute to Larry Jennings" for examples.
[2] Instead of pulling by left, take left hands with this neighbor. Ladies take right in the middle. You're in the same wave as your partner.
[3] Ideally, balance left and right. Then face this neighbor to pull by left into the hey for four.
[4] May require do-si-do twirls. The timing is forgiving to help everyone start the A1 on time. Appropriate muscial choice may keep them from starting early.


Hey contras

See also:

Approaches
by Chris Page
Improper
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
[1] This hey starts on a slight diagonal. Pass partner right, then gents walk straight across to pass left in the center. Meanwhile, ladies should make an extra-big initial loop, even a step larger than the normal loop in a hey.
The hey will either straighten out, or couples will finish the partner swing on the slight left diagonal, which should get cleaned up with the circle left.
It's useful during the walkthrough to have people identify their hands-four just before the hey starts.

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 Reel
by Chris Page
Improper
A1 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
[1] The rotational speed of allemanding is up to the individual dancers. Depending on how the allemandes are negotiated, either the gent or the lady could start the hey.
[2] Gents pull by left, give right to neighbor. Ladies reach behind with left hand, and scoop up the gents in a clockwise courtesy turn, gents going forward and ladies going backwards.

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 Resolution
by Chris Page
Improper
A1 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)
[1] Ladies enter the star in front of their partner.
[2] Or balance and swing.

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
by Chris Page
Improper
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]
[1] During the first walkthrough, and the first time through the dance, have everyone start facing out, then do the courtesy turn.
After the second time, it should flow naturally.
[2] And look for a new neighbor to courtesy turn.

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.

Elation
Chris Page variant of a Gene Hubert dance
Becket
A1 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
[1] The progression happens here. Promenade across, and in the courtesy turn loop a little further counterclockwise around the major set to face N2.
[2] It doesn't actually matter who starts the hey.

A riff on "Jubilation" by Gene Hubert.

The First Straw
by Chris Page
Improper
A1 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 Rollers
by Chris Page
Improper
A1 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]
[1] End the swing as normal, facing across and catching the gent's right hand in the lady's left. Instead of stopping, use that connection and momentum to enter the roll away. Gents may need to assist, especially if they're 200 lbs heavier yet don't give weight.
This is a move that could benefit from a demo.
[2] On the lady's original side.
[3] A hands-across star. Ladies join in behind their partners.

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 2
by Chris Page
Improper
A1 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]
[1] Starts in long waves, right hand to neighbor, gents face out, ladies face in.
[2] Circulate: Ladies cross the set to their partner's place, gents loop right to their neighbor's place.
[3] Wrist-grip star recommended. To transition into long waves, keep left hand with this neighbor, take right hand with the next.

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 Credit
Chris Page variant of a Larry Edelman and Nancy Donahue dance
Improper
A1 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
[1] At this point, you may need to remind the dancers that they're progressed, and that they need to identify a new couple to circle with.
[2] The wave has gents in the center holding left hands, and right hands with partner.
[3] The half hey starts by pulling past partner with the right hand. When gents meet, they can join left hands as they pass to enter the wave.

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 Truly
by Chris Page
Improper
A1 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]
[1] Go wide.
The pattern between the B2 and A1 is a hey-for-three on the side of the set.
[2] Embiggen this shoulder-round. Otherwise the A1 will start early, and there'll be a longer neighbor swing.

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


Ladies chain contras

See also:

Chain the Corner
by Chris Page
Becket
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
[1] These two figures together are sort of a ladies chain along the side of the set.
End effects: Re-entry is indecent, with gents on the right and ladies on the left.

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.

Videos: (#1) (#2) (#3)

A Grand Day Out
by Chris Page
Becket, counterclockwise
A1 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
[1] At this point in the walkthrough, I have them look at their current neighbor, then beyond them for their next neighbor. I tell them they'll soon meet each other on the other side.
[2] The star is done with original neighbors. The intent was to make this feel like a ladies grand chain.

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 Chain
by Chris Page
Becket
A1 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
[1] Face the new couple on the left diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet.
As they go back, gents roll their partner in front of them.
[2] The give and take is a four-beat figure: Two beats forward to take both hands with the person across from you; one person gently pulls while the other resists on beat three, and then yields on beat four.

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 Barn
by Chris Page
Improper
A1 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 Analysis
by Chris Page
Indecent
A1 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
[1] Chain is to partner, with courtesy turn on the side of the set.
You did notice the dance is indecent, right?

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!
by Chris Page
Improper [1]
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]
[1] Starts in a wave of four, right to neighbor, ladies have left hands in center.
[2] Balance the wave to the right and then back.
[3] Stay with that neighbor in a wave of four.

"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.


Mad robin contras

See also:

Seeing Eye to Eye
by Chris Page
Becket, counterclockwise
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
[1] Within your group of four. This could be a circle left 3/4 if you wished.
[2] A mad robin is a sideways do-si-do, ladies starting in front of their neighbor.
[3] Within your (new) group of four.

Experimenting with mad robin to circle transitions. Trouble is, somewhere along the line I lost the circle.

Squirrel!
by Chris Page
Improper
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
[1] A mad robin is a sideways do-si-do, ladies starting in front of their neighbor.
[2] A no-hands circle left 1/4 in your groups of four. Essentially ladies cross the set while gents sidestep to their left along the side of the set.
[3] Here you look at your neighbor across the set, and gents start by going forward to their right, ladies behind to their left, gents passing in front of partner.

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


Neighbor back-and-forth progressions

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:

Belgian's Delight
Chris Page variant of a Philippe Callens dance
Improper
COMPLEX
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
[1] Gents need to remember the other gent, as they keep coming back to each other throughout the dance.
[2] End facing direction of progression. (Ones down, twos up)
[3] End facing reverse direction of progression. (Ones up, twos down)
[4] Ladies can help by taking a sidestep to their right, so couples will be squared up for the B2 circle left.

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 Doodle
by Chris Page
Improper
Net single progression
COMPLEX
A1 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
[1] Hey with neighbor N2, then look in reverse direction of progress for N1.

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 Jaunt
by Chris Page
Improper
COMPLEX
A1 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]
[1] Out of the star left, face the neighors you passed by in the A1.
[2] No balances. Pull by right on the side, left across, and then right on the side, and face the next. (Which are the neighbors you just swung.)

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 Engagement
by Chris Page
Becket
Net single progression [1]
A1 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
[1] Dancers double progress forwards, then later single progress backwards. This creates multiple times out at the ends, and an interweaving of meeting neighbors.
[2] At the start of the dance, N1 is across from you, and N2 is on the left diagonal.
[3] Replace the courtesy turn with a California twirl for better flow into the circle left.

Video: (#1)


Orbit contras

See also:

Binary System
by Chris Page
Becket
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
[1] Your partner is not in your minor set.
[2] To start orbiting, gents push off with their left hand and loop/cast over their right shoulder, to go clockwise around the ladies.
[3] In tight quarters, it helps if gents from other sets intersect by passing each other by right shoulders.

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 Aaron
by Chris Page
Improper
A1 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
[1] After the quick half-shoulder-round, gent one faces out.
[2] Gent one casts down one place, crosses set, casts up one place, and crosses set. (It's going all the way around the stationary twos, counterclockwise.) Lady one chases gent one, following the same track.
There is intentionally time for the ones to make their chase path more 'creative" if desired. Just be sure not to hit anyone.
[3] Finish the swing facing down.
[4] Yes, the ones get a double partner 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.


Pass through to a wave of four contras

Fountains
by Chris Page
Improper
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]
[1] Pass through to a wave: pass your partner by the right shoulder. As gents pass each other in the center, they take left hands, and then take right hands with their neighbor. Everyone has travelled to the other side, and is now in a wave of four, with the gents in the center.
Pass through to a wave typically starts with the gent on the left and the lady on the right -- the configuration in this dance will throw people just like a circle right would. Also, there is no balance so the wave is ephemeral. As soon as you take right hands with neighbor, gents let go of left hands and the allemande right begins.
[2] It's quite possible to get a 9-beat swing. It's also quite possible to get a 3-beat swing.
[3] This is the standard pass through to a wave -- pass your neighbor by the right shoulder, ladies take left hands as they pass each other, and then right hands with their partner on the other side of the set. There is no balance, so the wave doesn't exist for any length of time. Ladies use left hands to change their orientation into that of a wave, and let go as soon as they have right hands with their partner, going directly into the allemande right.
[4] The circle with N2 needs to go all the way around. Once you're across from your partner, you can use the connection of the circle to tug each other across the set, into the pass through to a wave.

Passing Through
by Chris Page
Indecent [1]
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
[1] Indecent means the gent starts out on the right, lady on the left.
[2] Face across the set, and all pass partner by the right. Ladies take left hands as they cross the set, then take right hands with neighbor on the far side. All are facing the opposite of their original direction.
The wave is balance-free. The allemande right starts immediately.

More experimenting with "Hay in the Barn" alternates.

Tacking About
by Chris Page
Improper
A1 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
[1] This is actually a pass through to a wave of four/pass the ocean, but this time done up/down the set, rather than the standard across.
Everybody passes through. As the ladies pass, they take left hands with each other for just a step, so they can curve to face across. After gents pass on the outside of the set, they curve to face in.
The wave never forms long enough to do anything. Instead, with right hands touching your partner, begin the pull-by of the right and left through.
[2] Timing is a little tight in the A1. The pass through takes about three beats. You can steal two from the right and left through, and about one from the three-pass hey.
[3] A courtesy turn transition is recommended at first, to transition into the circle right.

More experimenting with pass the ocean.


Petronella contras

See also:

Diagonella
by Chris Page
Diagonal/cross formation [1]
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]
[1] A very unusual formation, known as either "diagonal" or "cross."
Begin with improper, then have gent one roll away lady two. Gents are now below the ladies, and all are diagonal from their partner in their group of four.
Re-entry at the top or bottom of the set is the standard improper progression.
[2] After the ladies chain, you're done with your current neighbors.
Only gent one does the roll away.

A novelty dance, where you can look directly at your partner during the petronella ring balances.

Hidebehind Reel
by Chris Page
Indecent [1]
[2]
COMPLEX
A1 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
[1] Indecent means the ones are not crossed over, but the twos are. This adds more fun to the end effects. The dance could be Becket by starting at the B2 -- the downside is the petronella turns would be split musically between the A's and B's.
[2] Shadow finding -- if at this point you took hands in long lines, your shadow would be on your left diagonal.
[3] Petronella turn 1 & 1/2 means do a "petronella turn" and then keep turning till you face a new group of four.

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 Greet
by Chris Page
Improper
A1 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
[1] After the first round of the dance, the dance starts with ladies facing in, gents facing out. So ladies begin by curving left to begin the half hey, while gents begin by looping right to face in, doing the outside loop of the half hey.

For me, the most interesting part of this dance is the B2/A1 transition.

Pinball Petronellas
by Chris Page
Becket, counterclockwise
A1 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
[1] At the end of this figure, gents are back to back in the center facing out, ladies are on the outside facing in, all in a line of four. (As if about to start a hey for four.)
[2] As in the original dance "Petronella," where only two people were active. It's equivalent to an allemande left 1/4, but without hands, and you individually rotate clockwise as you do so. For a similar movement, see the A1 of "Country Doctor's Reel" by Merilee Karr in the book "Give and Take."
The difference here is you keep rotating till you face your next neighbor -- though you end up on the same spot on the floor. In that way it's similar to "Pigtown Petronella," where each petronella has you facing a different minor set. The 1 & 1/2 refers to the extra 180 degree rotation, rather than moving further around N1.
The entire figure is positionally equivalent to 'Neighbor allemande left 1/4, then turn around and look at the person behind you.'
[3] The dance could have started here as a standard improper dance. But then the petronellas would have been split between the musical phrases.
[4] At the end of this move, you face the same person (N2), and catch left hands to pull into the half hey.

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.

Videos: (#1) (#2)

Recombobulated
by Chris Page
Becket
A1 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 Ring
by Chris Page
Becket, counterclockwise
Double Progression
A1 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
[1] Petronella turn 1 & 1/2 means do a "petronella turn" and then keep turning till you face a new group of four.
[2] To your shadow.

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 Out
by Chris Page
Improper
A1 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]
[1] Petronella turn 1 & 1/2 means do a "petronella turn" and then keep turning till you face a new group of four.

Named because you exit the petronella turn in three slightly different ways.


Pousettes contras

See also:

And Another Thing
by Chris Page
Becket
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]
[1] The progression secretly happens here.
[2] With shadow and new neighbor.
[3] See the glossary for an explanation of pousette. Starts with ladies moving forwards. Takes about 4-6 beats.
[4] The swing entry is similar to the ricochet hey/swing transition. As the half pousette is almost done, gents let go of right hand; ladies let go of left hand. Ladies raise their left arm, and step straight backwards as gents catch their back with their right arm, going directly into the swing. (By this point you drop the other hand with your partner.)

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 Lines
by Chris Page
Becket
A1 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
[1] Face the new couple on the left diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet.
[2] See the glossary for an explanation of pousette. It starts with gents going forward, and finishes with ladies back-to-back in the center. Then couples face clockwise around the major set.
[3] Similar to a promenade, but the only hand-hold is gent's right hand with lady's left hand. The transition from the pousette is merely letting go of the other hand, and facing the appropriate direction.
[4] Switch handholds. (Gent's left with lady's right hand.) Dancers may start the turn alone too early.

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 Joy
Chris Page adaptation of a Erik Weberg adaptation of a Victor Skowronski dance
Becket
A1 (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
[1] This is a blending of "slice left" and "give and take." A slice is an eight beat figure: Face the couple on the left diagonal and go forward in four beats, then push straight back for four beats.
The give and take is a four-beat figure: Two beats forward to take both hands with the person across from you; one person gently pulls while the other resists on beat three, and then yields on beat four.
Combining them in this dance yields: Face the left diagonal and go forward in two beats; take two hands with this new neighbor. On beat three ladies try to draw the gents straight back (not on the diagonal) while he resists. On beat four he yields, and the lady draws her neighbor back to her side to start the pousette.
[2] See the glossary for an explanation of pousette. Ladies start by moving backwards.
The timing appears tight, though there's really five beats to do this, as the pousette really starts with the give and take. If it runs over, the timing damage is absorbed in the A2 by a shorter neighbor swing.
To transition into the hey, gents take a step back from their neighbors and let go. Ladies sidestep slightly to their right to end in the center of a line of four, facing each other. Gents sidestep slightly to their left to the line of four across the set, facing their partner's back. There is a video of this transition, best seen starting around 6:40.
[3] This is just a continuation of a five-pass hey.
[4] This is the one asymmetry: the give and take is done with the couple straight across, unlike in the A1. Otherwise the second half of the dance is the same as the first, with neighbor swapped for partner.

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.

Videos: (#1) (#2)

The Flying Trapeze
by Chris Page
Improper
A1 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
[1] See the glossary for an explanation of pousette. Starts with ladies moving forwards. Takes about 4-6 beats.
[2] While still facing partner, take nearest hand with neighbor. Ladies roll their neighbor in front of them, and then are launched into the hey.

Videos: (#1) (#2)

The Full Wind-up
by Chris Page
Becket
Double progression
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
[1] Replace the courtesy turn with a California twirl for better flow into the circle left.
[2] Draw pousette is an English Country Dance figure described in "Wind-up Your Neighbor." The difference here is that the gents back up as the ladies go forward. It all flows out of the circle left.
[3] Revised 1/2012 from 1 & 1/2, to better fit the timing. But it doesn't actually matter how many times around this goes. Just use the momentum to launch someone into the center of the set, passing left shoulders in the center.

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 Draw
by Chris Page
Improper
A1 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
[1] See the glossary for an explanation of pousette. Starts with ladies moving forwards.
[2] Gents take right hands. Ladies take left hands above that. Keep the other hand joined with your partner. The whole thing rotates clockwise, ladies backing up.

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
by Chris Page
Improper
COMPLEX
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
[1] See the glossary for an explanation of pousette. Starts with ladies moving forwards. Takes about 5 beats.
[2] Draw pousette is an English Country Dance figure described in "Wind-up Your Neighbor." The difference here is it's only halfway round. After the half draw pousette, let go of your partner, and ladies take another step back in preparation for the half mad robins.
This is a draw pousette rather than a regular pousette so the circle/swing transition in the A2 uses the correct hands.
[3] Only half a mad robin, to return back to original neighbors. While looking at your partner, sidestep past this neighbor N2, gents going in front and to the left, while ladies go behind and to the right.
[4] Another half mad robin, around original neighbors, this time with ladies in front. The net effect of the entire A1 is to swap places with your partner ... via the scenic route.
As this half mad robin finishes, gents can catch their original neighbors' hand, and assist them into the circle left.

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 Draw
by Chris Page
Becket
A1 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
[1] The progression happens here. Promenade across, and in the courtesy turn loop a little further counterclockwise around the major set to face N2.
[2] See the glossary for an explanation of pousette. Starts with ladies moving forwards.
[3] Gents take right hands. Ladies take left hands above that. Keep the other hand with your neighbor. The whole thing rotates clockwise, ladies backing up.

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 Meet
by Chris Page
Improper
A1 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
[1] A mad robin is a sideways left-shoulder do-si-do, gents starting in front of their neighbor.
[2] See the glossary for an explanation of pousette. Both pousettes in this dance start with the gents moving forwards.

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 Trust
by Chris Page
Improper
A1 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
[1] See the glossary for an explanation of pousette. Starts with ladies moving forwards. Takes about 4-6 beats.
[2] The swing entry is similar to the ricochet hey/swing transition. As the half pousette is almost done, gents let go of right hand; ladies let go of left hand. Ladies raise their left arm, and step straight backwards as gents catch their back with their right arm, going directly into the swing.

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)

Trust
by Chris Page
Improper
A1 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
[1] See the glossary for an explanation of pousette. Starts with ladies moving forwards. Takes about 4-6 beats.
[2] The swing entry is similar to the ricochet hey/swing transition. As the half pousette is almost done, gents let go of right hand; ladies let go of left hand. Ladies raise their left arm, and step straight backwards as gents catch their back with their right arm, going directly into the swing. (By this point you drop the other hand with your partner.)

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
by Chris Page
Improper
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
[1] See the glossary for an explanation of pousette. Ladies start by moving backwards.
To transition into the next figure, gents take a step back from their partners and let go. Ladies sidestep slightly to their right to end in the center of a line of four, facing each other, then take left hands for an allemande. Gents sidestep slightly to their left to the line of four across the set, then continue moving clockwise in an orbit around each other
[2] In tight quarters, it helps if gents from other sets intersect by passing each other by right shoulders.

"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 Neighbor
by Chris Page
Becket
A1 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
[1] Face the new couple on the left diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet.
[2] Draw pousette is a figure from English Country Dancing, so if you don't understand the rest of this, go ask an ECD regular to demonstrate.
A draw pousette is a pousette where you rotate as a couple while you are moving.
As used in this dance, your body is in the same place as it would be for a circle left 3/4. You face your neighbor the entire time, so the lady backs up as the gent goes forward. To be overly technical, the imaginary line connecting you and your neighbor is perpendicular to the line connecting the center of your hands-four to the midpoint between you and your neighbor.
A demo is advised for this move, as it's worth at least 132 words. It's really a lot simpler than it sounds.
[3] Technically it doesn't matter how many times around it goes. Just use the momentum to launch someone into the center of the set, passing left shoulders in the center.

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.


Promenade contras

See also:

Curves and Ways
by Chris Page
Improper
COMPLEX
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]
[1] No courtesy turn. Promenade counterclockwise around N1, gents in the middle, curving slightly at the end to face N0. Positionally, this is the equivalent of ladies trading places, and all facing the previous neighbor.
[2] Promenade clockwise around N2, ladies in the middle, end on the sidelines facing across. The entire B1 is one big promenade figure, where you trace an "S" on the floor. At the end of the B1 you are backwards-progressed and on the opposite side from where you started the B1.
[3] Holding hands with your partner, go forward and to the left past N0, then forward and to the right, passing in front of N1 until outside the set again, and finally forward and to the left until standing in front of N2.
As in "Weave the Line" (video) by Kathy Anderson.

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 Fun
by Chris Page
Becket
A1 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
[1] The transition from star to promenade (especially how far to go around) is a little tricky during the first walkthrough. I'd recommend having people finish the star by retiring to face across in long ines. From there, promenade.
In the actual dance, it flows out of the star left. Recommended promenade hold is New England style, with gent's right hand behind the lady's back, rather than skater's hold, with both handholds in front.
[2] The progression happens here. Promenade across, and in the courtesy turn loop a little further counterclockwise around the major set to face N2.

Stealing the star/promenade transition from "Spring Fever" by Tony Parkes.

This is a very partner-focused dance.

NEWSreel
by Chris Page
Improper
A1 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
[1] Ones in the center.

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 Path
by Chris Page
Becket
A1 (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
[1] The progression happens here. Gents look on the small left diagonal for the next gent to allemande. Meanwhile, ladies must sidestep to their left to stand between the gents.
[2] At some point before the B1 neighbor swing, the lady's arm should be above the gent's.
[3] Ladies take right hands in the center. With an especially heavy guy, they may just want to promenade.

Promenade Home
by Chris Page
Becket, counterclockwise
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
[1] No courtesy turn. Promenade counterclockwise around shadow, gents in the middle, curving slightly at the end to face partner. Positionally, this is the equivalent of ladies trading places, and all facing their partner.
[2] Promenade clockwise around partner, ladies in the middle, end on the sidelines facing across. The entire B1 is one big promenade figure, where you trace an "S" on the floor. At the end of the B1 you are facing your partner and on the opposite side from where you started the B1.

Using the key figure from "The Weaving Sloop" as a partner reunion device.

Splitting Hairs
by Chris Page
Improper
A1 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)
[1] This is just to assist the flow from star to right shoulder round.
[2] There is no courtesy turn. Instead of just promenading halfway, you promenade three-quarters of the way around to your progressed position, finishing by curving slightly to face new neighbors.

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
a Chris Page variant of an Al Olson dance
Improper
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]
[1] At the start of this, gents face directly away from their neighbor. Gents face their previous neighbor, ladies face their new neighbor. Everyone is facing counterclockwise around the set.
Make sure end couples join in with the promenade.
[2] Ladies walk forward, and if needed can tap the new neighbor on the shoulder.
[3] Until you see your partner.
[4] The partner right shoulder round may start a little early in the A2.
[5] The primary failure point of the dance. If the chain starts too late, the star also starts too late and the single file promenade can get out of order.
[6] Make sure the star goes all the way around, until everyone's back on their original side. This can be confusing when a couple switches from ones to twos, and now has a new home side.
Unlike final star lefts in most dances where gents have to curve to face new neighbors out of the star, here gents just follow the natural inclination of the star and face counterclockwise around the entire set.

A variant of "Trick or Treat" by Al Olson. I swapped the star right with a star left, and made compensating changes.

Wander Rings
by Chris Page
Becket [1]
A1 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
[1] At the start of the dance, if you hold hands in long lines, your shadow is in one hand next to you.
[2] No courtesy turn. Promenade counterclockwise around partner, gents in the middle, curving slightly at the end to face shadow. Positionally, this is the equivalent of ladies trading places, and all facing their shadow.
[3] Promenade clockwise around shadow, ladies in the middle, end on the sidelines facing across. The entire A2 is one big promenade figure, where you trace an "S" on the floor. At the end of the A2 you are facing your shadow and on the opposite side from where you started the A1.
[4] Petronella turn 1 & 1/2 means do a "petronella turn" and then keep turning till you face a new group of four.

Using the key figure from "The Weaving Sloop" as a partner separation device.

The Weaving Sloop
by Chris Page
Becket
A1 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
[1] No courtesy turn. Promenade counterclockwise around N1, gents in the middle, curving slightly at the end to face N2. Positionally, this is the equivalent of ladies trading places, and all facing the next neighbor.
[2] Promenade clockwise around N2, ladies in the middle, end on the sidelines facing across. The entire A1 is one big promenade figure, where you trace an "S" on the floor. At the end of the A1 you are progressed and on the opposite side from where you started the dance.
[3] The circle/hey transition is stolen from "Mood Swings" by Sue Rosen. The circle is actually 7/8, till gents are on the outside forming a diamond. Ladies then step into the middle, ending back-to-back and facing their neighbor. The hand-hold from the circle lets the gents assist them through that transition.

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.)


Ricochet contras

See also:

Do What's Right
by Chris Page
Becket, counterclockwise
A1 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] 
[1] With ladies in the lead.
[2] Until ladies are on their original side.
Ladies can use the connection of the circle to assist their partner into the allemande.
[3] Technically it's more of 1 & 1/4. Target is your partner.
[4] Gents ricochet: Gents, when they reach the center, extend both hands to each other and push off each other, going backwards and to their left. (Instead of crossing the set, they stay on their original side.) What they're doing is walking a small counter-clockwise circle on their side, while always facing the same direction. After looping around, ladies assist their partners by catching their free hand, and leading them into a shift right.

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 Reel
by Chris Page
Improper
A1 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
[1] Gents take a side-step to the left to square up with new neighbors.
This is an allemande left rather than right to add a bit of counterclockwise motion.
[2] Ladies ricochet: Ladies, when they reach the center, extend both hands to each other and push off each other, going backwards and to their right. (Instead of crossing the set, they stay on their original side.) What they're doing is walking a small clockwise circle on their side, while always facing the same direction. After looping around, gents assist their neighbors into a butterfly whirl.
[3] As the ladies push back, they should lower their left hand by their sides. Gents extend their right arms behind their neighbor's back. Once it's safe, ladies can raise their left arm behind their neighbor's back into a typical butterfly whirl position.
[4] A regular half hey, without ricochets. Some dancers may at first try and ricochet here, in which case the ladies will be on the wrong side.

More experimenting with transitions out of the ricochet hey.

Ricochet Twins
by Bob Isaacs and Chris Page
Becket, counterclockwise
A1 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
[1] Ladies ricochet: Ladies, when they reach the center, extend both hands to each other and push off each other, going backwards and to their right. (Instead of crossing the set, they stay on their original side.) What they're doing is walking a small clockwise circle on their side, while always facing the same direction. After looping around, gents assist their neighbors/partners into a 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.


Right and left through contras

See also:

Just Elegance
by Chris Page
Becket, counterclockwise
COMPLEX
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
[1] A normal right and left through. Pull right by your partner, ladies put their right hand on their hip, gents reach behind with their right hand to get into courtesy turn position, and courtesy turn with gents backing up and ladies going forward.
[2] Not a normal right and left through. It's done with next neighbors, and dancers are doing the other gender role. Pull right by your partner, gents put their right hand on their hip, ladies reach behind with their right hand to get into courtesy turn position, and courtesy turn with ladies backing up and gents going forward.

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 Past
by Chris Page
Improperish (Progressed, in a line of four) [1]
A1 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
[1] To get in the starting position from an improper formation, have people swing their neighbor and face down the hall.
[2] The courtesy turn for a same-role right and left through involves the person on the left walking backwards, and the person on the right walking forwards, just like a normal courtesy turn.
[3] With new neighbors. After having made it through the first right and left through, all the dancers will be dancing the other role of the courtesy turn.
At the ends, people should wait out proper. This may be a problem at the top -- if the top couple switches sides, they'll be faced with a reverse-role right and left through. If they survive that, everything gets cleaned up in the B1 partner swing.

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 Through
by Chris Page
Becket
A1 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
[1] This works best as a wrist-grip star, because it ends with holding left hands with neighbor on the side.
[2] No balances. Face neighbor on the side of the set as you transition from star to handshake grip. Neighbor pull by left, pull by right across the set with partner, pull left by neighbor on side, and face across.
[3] The progression happens here.
Ideally done with a pull by, rather than a pass through. Pull right by your partner, and courtesy turn with a new neighbor.
End effects are interesting. If neutral dancers join in with the pull by section of the right and left through, they need to wait out indecent, with the gent on the right. If neutral dancers join in starting with the courtesy turn, they should wait out improper, with the lady on the right. When I called this, dancers tended to wait till they were needed (the courtesy turn), so waiting out improper should work okay.

This dance was later simplified into "The Zen of Dance."

The Zen of Dance
by Chris Page
Improper
A1 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
[1] No balances. Starts with the left hand. Finishes facing across from your partner.
[2] Depending on how you look at it, the entire A1 could also be thought of as "left square through four, neighbor courtesy turn." Either way, this figure will encourage dancers to pull by right hands for the start of the right and left through.
[3] Teaching point courtesy of Bob Isaacs: At this time, your current neighbor is in one hand, and your future neighbor is in the other hand.

More experimentation with left-handed square throughs and no-balance square throughs.

Videos: (#1) (#2) (#3)


Roll away contras

See also:

Cyclone
by Chris Page
Improper
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
[1] These roll aways are quicker than four beats, but as long as dancers know this, things should be fine.

More experimentation with timing of consecutive roll aways.

Reroll Reel
by Chris Page
Becket
A1 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
[1] Face the new couple on the left diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet.

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.

Sharing
by Chris Page
Becket
A1 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
[1] The progression happens here, as the ladies look on the right diagonal for the next lady to allemande. You could even start the dance as an improper dance, at the beginning of the B1.
[2] Or balance and 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 Cycle
by Chris Page
Indecent [1]
A1 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
[1] Indecent formation has the lady on the left, gent on the right.
[2] Each of these rollaways is three beats long. Experienced dancers may try and do four beats per roll away, and then assume there are only three roll aways.
[3] This is the progression.
Holding hands with your partner, go forward and to the right past N1, then forward and to the left, reaching N2.
(As in "Weave the Line" (video) by Kathy Anderson.)

An extension of "Without a Net."

During the walkthrough, I'd recommend emphasizing two things:

  1. There are four rollaways, and they're three beats each rather than four.
  2. The progression has gents on the right, in the lead. Don't try to fix it.

Uplift
by Chris Page
Becket
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.

Videos: (#1) (#2) (#3) (#4)

Without a Net
by Chris Page
Becket
A1 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
[1] You could start the dance here. Advantage: music can start with a balance. Disadvantage: it's a little harder to remember to progress in the middle of the dance.
[2] There's no balance between these two roll-aways. The idea is to flow directly between them.

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 2
by Chris Page
Indecent [1]
A1 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
[1] While the dance starts indecent, progression is standard, with couples coming in becket-like after the promenade.

Rory o' More slides contras

See also:

Blind Catch
by Chris Page
Improperish [1]
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)
[1] Starts in an unusual wave of four, left hand to neighbor, gents have right hands in middle.
[2] As in the dance "Rory o' More," everyone sidesteps to their left, passing nose to nose with their neighbor. They can spin counterclockwise if they choose, which transitions better into the allemande.
[3] This time, everyone sidesteps to their right, past this neighbor and finding the next. They can spin clockwise, which makes a better transition into the swing.

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 States
by Chris Page
Becket
[1]
A1 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]
[1] At the start of the dance, your shadow is beyond your partner.
[2] Right hand to partner. Gents face out, ladies face in.
[3] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their partner. They can spin clockwise if they choose. (Counterclockwise when they later slide left.) Gents are still facing out, ladies facing in, with left hands to partner.
[4] Catch right hands with your partner and pull into a swing. Or insert a balance here.
The swing finishes facing new neighbors. Ladies should recognize the other lady across from them.

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 Spirits
by Chris Page
Becket
A1 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
[1] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their neighbor. They can spin clockwise if they choose. It ends facing that same neighbor, holding left hands, gents roughly back-to-back in the middle.

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.

Videos: (#1) (#2)

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 swing

Videos: (#1) (#2)

Midwestern Rories
by Chris Page
Becket
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
[1] Right hand to neighbor, ladies in the center joining left hands, ones facing down.
[2] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their neighbor. They can spin clockwise if they choose. (Counterclockwise when they later slide left.) Now the gents are in the center of the wave of four, with left hands to neighbor.
[3] Catch right hands with your neighbor, and use that momentum to pull into a swing.
[4] Right hand to partner, ladies joining left hands in the center.

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."

Videos: (#1) (#2)

Not a Trip to Vegas
by Chris Page
Becket, counterclockwise [1]
COMPLEX
A1 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]
[1] At the start, if you took hands in long lines, your shadow is next to you.
[2] The B2 partner swing ends in star-promenade position (convenient arm on each other's back), with ladies in the middle, taking right hands. The star promenade goes to the other side, where ladies leave their partner. There is no butterfly whirl.
[3] This combination of figures (star promenade, ladies allemande right 1/2, other person swing) has been coined "revolving door" by Ron Buchanan.
[4] The progression happens here. Promenade across, and in the courtesy turn loop a little further counterclockwise around the major set to face N2.
[5] Gents face in, ladies face out. Right hand to shadow. Left hand to yet another shadow.
[6] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their shadow. They can spin clockwise if they choose.
[7] Finish the swing next to N2, in star promenade position, ladies have right hands in center.

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 Hand
by Chris Page
Proper [1]
A1 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
[1] Actually, starts in a proper wave, right hand to your same-role neighbor, gent one and lady two have left hands in middle. Ones facing down, twos facing up. Easiest way to get here is to start proper, and then have them do-si-do to a wave.
[2] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their same-role neighbor. They can spin clockwise if they choose. (Counterclockwise when they later slide left.) Now lady one and gent two are in the center of the wave of four, with left hands to that neighbor.
[3] Everybody slides/spin to their left, until they've reached the side of the set with their partner. Middle people (lady one and gent two) slide left one place. End people (gent one and lady two) slide to the left two places, crossing the set.

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.


Shadow contras

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:

Left Turn at Albuquerque
by Chris Page
Improper
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]
[1] With your neighbor shift left one couple until you're across from your shadow.
[2] Ideally done quickly in only about six counts, but if it take eight counts, the timing in the A1 is forgiving.
[3] After the circle, all are across from partner. Pass through across the set, passing partner by left shoulders, and then curve to look for new neighbors.

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 Anxiety
Chris Page variant of an unknown dance
Becket
A1 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
[1] Gents should wait for the ladies to come to them, so that they'll be properly aligned for the next figure, across from their shadow.
[2] "S" is for shadow. You also circle with your shadow in the B2, and pass by them in the pass through.

This is my simplification of "Snowbound," but it can also be thought of as the twin dance to "Chrysalis" by Don Flaherty.


Star contras

See also:

Blueshift
by Chris Page
Becket
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
[1] The progression happens here. Promenade across, and in the courtesy turn loop a little further counterclockwise around the major set to face N2.

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 Stars
by Chris Page
Improper
A1 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
[1] Here's what happens for the walkthrough. Lady one steps into the middle of the set, and shifts down until directly between the twos, facing down. Gent one stands directly behind her. They stick out their left hand, and star left with lady two, returning to the center. They then stick out their right hand, and star right with gent two, almost finishing the star. Once gent one's facing across, gent one ejects from the star and returns to his original side of the set.
It's a little fuzzier when smoothed out for the actual dance. Lady one can start a shoulder-round/allemande left 1/4 with lady two, and gent one gets directly behind his partner to make it a star.
This is an unequal dance, so twos that later become ones may get confused.
[2] Update: It actually doesn't matter who enters the star first. If ladies enter it first, then the second star just goes around a bit more. Gent one still crosses the set out of the second star, as soon as they're facing across. The A2 shoulder-round keeps the timing a bit flexible.
Second update: I've tested this, and it works better if lady one is in the lead, and gent one follows his partner in both stars..

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 Motion
Chris Page variant of a Lisa Greenleaf dance
Improper
A1 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
[1] Wrist-grip star, to transition into the pull-by.
[2] When teaching, I mention the pull-by is on the original side of the set, with your neighbor. Ladies may have to turn slightly to find their neighbor, though they should already have right hands from the star.

This started out with the A1, but quickly turned into a dance very similar to "Poetry in Motion."

Pioneer
by Chris Page
Becket
A1 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
[1] Walk forward along the side of the set to new neighbors, shifting counterclockwise around the major set. Ladies in the lead, gents follow partner.
[2] The exact amount of the star depends on where you consider the star begins. The numbers above assume the star doesn't start until you're both directly across from the new neighbors. But a better way to teach it is to tell the ladies to go once around and drop out on their starting side. Gents follow their partner, and go once and a half around until they're with their neighbor.

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
Chris Page variant of a Jeff Kaufman dance
Becket
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
[1] At this point, dancers keep the right-hand wrist-grip star, and form a left hands-across star above that. Clockwise motion of the star continues with a buzz-step swing to the speed of the slowest dancer.
[2] Gents drop out on their original side. Ladies maintain their left-hand connection, and join right hands for a cross-armed swing. Gents get ready to catch their partner for a swing.
[3] The only difference between odd and even times through the dance is who does the same-role 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)

Spinout
by Chris Page
Improper
A1 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
[1] Left hand to partner.
[2] Here's where all the action takes place. The goal is a left-hand star, where everyone is progressed. To get there:

Taking Turns
a Chris Page variant of a Margot Gunzenhauser dance
Becket
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
[1] At this point, I point out the other side to the gents, since eventually they'll have to drop out of the star on that side.
[2] Ladies join behind their neighbors. Gents let their partner in front of them.
[3] Or could just be taught as two passes (neighbor pass right, gents pass left). But secretly it's a quarter hey.

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.


Star promenade contras

See also:

Butterflies in the Barn
by Chris Page
Improper
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 Guys
Chris Page variant of a Becky Hill variant of an Amy Kahn dance
Improper
A1 (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, Whirled
by Chris Page
Becket [1]
COMPLEX
A1 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
[1] Becket, yet it has ones and twos. When I teach this, I have dancers chain, then take hands four with new neighbors. This is when you identify ones, twos, and lady one.
[2] The point behind this roll-away is to prevent set drift. There's so many ways this move can go wrong:
Teaching this is the key to the dance working well, though as long as they work with new neighbors it won't crash.
[3] Ones push off to start moving backwards as the twos go forwards.

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.

Scooped
by Chris Page
Becket
A1 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
[1] Precise fractions are for diagramming purposes only, not teaching. At this point dancers form a diamond, ladies on the outside, gents in the middle.
[2] Ladies let go and sidestep away from each other enough to make room for the gents. Ladies are facing opposite of their direction of progression.
As for the gents, it's probably best not to use the word "allemande" or they'll overshoot the mark. Try something like "gents keep left hands, scoop up/pick up your partner for a star promenade."

Experimenting with entries into the star promenade. I expect someone else has already tried this transition.

Summer Azure
by Chris Page
Improper
A1 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.

Videos: (#1) (#2)

Super Swooper Scooper
by Chris Page
Becket
A1 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
[1] This is where the dance speeds up. As gents pull by left, ladies have to turn around (using the momentum of the allemande right, so they're facing the correct direction for the star promenade.

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.


Square through contras

See also:

Bank Shot
by Chris Page
Improper
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
[1] The third pull-by of the square through should finish with gents facing in and ladies facing out. Holding right hands for a bit too long during the third pull-by should do the trick. To start the hey, gents pass left as ladies loop right.
[2] Or balance and swing.

More experimentation with transitions out of the square through.

The Fifth Piece
by Chris Page
Becket
A1 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
[1] I'm still wavering on the order of the two figures in the A1. This sequence is the standard one for things like "Friday Night Fever" and "Square Affair," but those start with balances. I may swap the order in the future, or you could try them the other way.
[2] No balances. Will take about ten beats.
[3] The progression happens here. The hey is done with N2.

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
by Chris Page
Improper
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) 
[1] A wrist-grip star is ideal here. Coming out of the star you can smoothly transition into a left-handed grip with your partner across the set from you.

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 swing
Square Route
by Bob Isaacs and Chris Page
Improper
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]
[1] Starts with the left hand. No balances.

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.

Videos: (#1) (#2)

Squared Off
by Chris Page
Becket [1]
A1 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
[1] At the start of the dance, your shadow is next to you in line.
[2] I'm still wavering on the order of the two figures in the A2. This sequence is the standard one for things like "Friday Night Fever" and "Square Affair," but those start with balances. I may swap the order in the future, or you could try them the other way.
[3] No balances. Will take about ten beats.

Another variant of the idea from "The Fifth Piece."

Squared Up
by Chris Page
Becket
A1 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
[1] Face the new couple on the left diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet.
[2] No balances. Will take about ten beats.

Another variant of the idea from "The Fifth Piece."


Swing-to-swing contras

See also:

Alexander's Swing-time
by Chris Page
Improper [1]
A1 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]
[1] Starts in long waves, gents face out, ladies face in, right hand to current neighbor. At the start of the walkthrough I like to mention that your current neighbor is in your right hand, your previous neighbor is in your left hand, and both are important.
[2] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their neighbor. They can spin clockwise if they choose.
They then catch left hands with N1. If they look past N1, at that moment they can see N0.
[3] Wrist-grip star recommended. To transition into long waves, keep left hand with this neighbor, take right hand with the next.

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 Lori
by Chris Page
Improper
A1 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)
[1] Ladies ricochet/push-back: Ladies, when they reach the center, extend both hands to each other and push off each other, going backwards and to their right. (Instead of crossing the set, they stay on their original side.) What they're doing is walking a small clockwise circle on their side, while always facing the same direction. After looping around, gents assist their partners into the circle.
[2] Rather than mention the fraction .875 in public, have gents note which side they're on now. Then have them circle almost once around until gents are back to their original side, and ladies are in the middle forming a diamond.
Gents can then gently assist the ladies into a swing.

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 Transition
by Chris Page
Becket, counterclockwise [1]
A1 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
[1] At the start, shadow is on far side of partner.
[2] Promenade across, and in the courtesy turn loop a little further counterclockwise around the major set to face shadow.

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 Next
by Chris Page
Becket, counterclockwise
Double progression
A1 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]
[1] Finish facing N3, prepared to swing them again.

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
by Chris Page
Improper
COMPLEX
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
[1] Original dance transcription had an error, and listed the passes as (Gl,Pr,Ll,Nr). Fixed 3/24/2010.

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.


Twirl to swap contras

See also:

111
Chris Page variant of a Steve Zakon-Anderson dance
Improper
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.

Videos: (#1) (#2)

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 Swing
by Chris Page
Becket
A1 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
[1] Face the new couple (N1) on the left diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet.
[2] An other-handed California twirl: Gents' left hand, ladies' right, make an arch, and trade places, ladies going under the arch. Finishes with all interacting with new neighbors.
Also known as a "Jersey Twirl."

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.


Weave the line contras

See also:

Catch of the Day
by Chris Page
Indecent [1]
A1 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]
[1] Indecent formation has the lady on the left, gent on the right.
[2] This is the progression.
Holding hands with your partner, go forward and to the right past N1, then forward and to the left, reaching N2.
As in "Weave the Line" (video) by Kathy Anderson.
[3] Or balance and swing. Do what the music says.
[4] At the end of the circle, let go of your neighbor. Face your neighbor while keeping hands with your partner.

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 Flow
by Chris Page
Improper
A1 (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
[1] This is the progression.
Holding hands with your partner, go forward and to the right past N1, then forward and to the left, reaching N2, and then continuing to the left until in a two-faced line with N2, ladies right shoulder to right shoulder in the middle.
As in "Weave the Line" (video) by Kathy Anderson.
[2] At some point during the weave or star promenade, there needs to be a hand change, so that an arm is behind your partner's back, in star promenade hold. At the start of this figure, ladies also take right hands.
[3] Ladies back up, gents go forward.
The timing on this is a little soft. For more experienced crowds, you could try to get them to go wide on the weave the line, have the butterfly whirl go around twice, or just let the dancers cope with a longer partner swing.

The weave the line/star promenade transition was inspired by "To Doris" by Birgit Rasmussen.

Fourth Friday
by Chris Page
Improper
A1 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]
[1] Starts in a wave of four, right hand to neighbor, ladies have left in center.
[2] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their neighbor. They can spin clockwise if they choose. (Counterclockwise when they later slide left.) Now the gents are in the center of the wave of four, with left hands to neighbor.
[3] Holding hands with your partner, go forward and to the right past N1, then forward to the left, until standing in front of N2. (As in "Weave the Line" (video) by Kathy Anderson.)
[4] Then let go of your partner, and take a step forward and to the left to form the original wave of four with new neighbors, right hand to this neighbor.

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!"
by Chris Page
Becket, counterclockwise
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
[1] Take two steps forward to your partner, and with free hand, gents bring back your partner. (Gents' left hand, ladies' right hand are joined.) At the same time, face the direction of your current neighbor up/down, which is your direction of progression, and begin the weave the line.
[2] Holding hands with your partner, go forward and to the right past N1, then forward to the left, until standing in front of N2. (As in "Weave the Line" (video) by Kathy Anderson.)
Note in this figure the gents are on the right, ladies on the left. Make sure the dancers don't try and fix this. The progression is indecent.
[3] The transition from the weave the line to hey is similiar to the pousette/hey transition from "Joyride." While facing your new neighbors, separate from your partner, ladies sidestepping a little more to their left. Gents meet in the center, and curve around each other.

Written for Diane Duffy, of Arizona, the winner of a contra dance auction at the 2016 May Madness dance weekend.

Slalom Slide
by Chris Page
Improper
A1 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]
[1] A seesaw is a left-shoulder do-si-do. In this case, a do-si-do for couples.
[2] Let go of your partner and then step forward until you're in the position of a wave of four, gents in the middle, left hands to neighbor. (But hands aren't actually taken.) The hey then starts by gents passing right shoulders.
[3] Holding hands with your partner, go forward and to the left past N1, then forward to the right, until standing in front of N2.
As in "Weave the Line" (video) by Kathy Anderson.

Yet another "Joyride" knock-off, stealing the B2 from "Rockin' Robin".


Miscellaneous contras

Coming Together
by Chris Page
Improper
COMPLEX
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
[1] Gents let their shadow come to them, so that original gents can be in the A1 star with each other.
[2] Your shadow is in the star. Original gents from the A1 are also both in the star.
[3] The star finishes where it begins, on the side of the set with shadow. All pull by someone across the set, though it's on a small diagonal. Gents pull by the other gent in the same star. Ladies pull by a lady in another star -- the same ladies who started the diagonal chain.
If you hold on for a bit as you pull by (like in "Beneficial Tradition"), you're naturally curved into your partner's arms for a swing. This transition is why I wrote this dance.
[4] With original neighbors.

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-Did
by Chris Page
Improper
A1 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
[1] I recommend a single-hand handhold with your partner -- gent's right and lady's left; then gent's left and lady's right for the seesaw. It makes the turn alone transitions much easier. The alternate is a two-handed varsouvienne promenade position. (Lady's right hand by her right shoulder, gent's right hand behind her back. Left hands to left at shoulder height. When they turn alone, ladies' left hand will be by her left shoulder, gent's left hand behind her back.)
The turn alone happens while the do-si-do is moving -- it's a 180 degree pivot to face the other couple.
[2] A seesaw is a left-shoulder do-si-do. In this case, a do-si-do for couples.

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 Speed
Chris Page variant of an unknown dance
Improper
Double progression
A1 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]
[1] First progression. Ladies look on their right diagonal. It helps if gents take a step to their left.
This is the trouble spot in the dance, where it is most likely to break down, as some ladies will autopilot allemande with the current lady, rather than the next one, resulting in some odd couples out between the hands four. So you really want to emphasize this in the teaching and prompting.
[2] These are the same ladies who allemanded in the A2.
[3] The very top couple of the entire set takes two hands and sashays towards the bottom of the set, while the very bottom couple does the same towards the top. Depending on circumstances they may: never reach the middle; meet and pause; gallop past; arch and duck under; or do something completely unexpected.
[4] End couples return to place, and all face new neighbor (N3).

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 Reel
by Chris Page
Improper
A1 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
[1] Actually, with experienced dancers, either one can lead the chase. Just as long as both don't turn away, or neither turn away.
[2] As in "New Friendship Reel" by Ted Sannella, lady #1 goes outside, faces up, goes past gent #2, faces across the set, goes across the set to the outside, faces down, and goes past lady #2 into her partner's starting place. Meanwhile gent #1 crosses the set (chasing his partner), goes outside the set, faces up, goes past gent #2, and stops chasing his partner by going down the middle of the set between the #2s into his partner's starting place.
The second part of the chase figure is the same, except the roles for the ones (gent/lady) are reversed. When teaching this, I typically demonstrate and mention the essential points are:
  1. It's a chase figure, so act it out.
  2. However you wind up doing it, end where you started.
  3. But please do not run down the poor twos in the process.

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 Joe
Chris Page combination of a Frieda Gratzon dance and an Elio Lewis dance
Improper
Double progression
A1 (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
[1] Gent one holds on to his partner, and steps down the hall, picking up lady #2 with his left hand. Gent #2 slips in alone behind the line of three when he can.
This dance wants some room between minor sets to accommodate the A1.
[2] Right-hand-high-left-hand low is a way to invert a line of three without ever dropping hands. Gent one in the middle raises his right arm to make an arch. He brings both ladies in front of him -- lady two in his left hand stays close to him and goes under the arch. Lady one in his right hand takes the outer counterclockwise track. The ladies have then exchanged places. Towards the end of this, gent one turns clockwise 180 degrees under his own right arm so the line of three faces back the other way.
Loose hand contact is essential to safely completely the figure. If it hurts, let go!
[3] This is the visiting couple square dance figure "Birdie in the cage." Gent one can rotate clockwise within the circle.
[4] Gent one can rotate counterclockwise or show off within the circle. Or if you really wanted to get advanced, gent one could jump out into the circle, and lady one could jump into the center. ("Crow fly out and birdie fly in.")
The circle finishes with the twos above the ones. Ones return to their home sides, and face new neighbors, ready to catch them for the 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
by Chris Page
Improper/Proper [1]
COMPLEX
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
[1] Odd times through the dance (including the first time), it's improper, even times through the dance it's proper. Couples waiting out at the ends should pretend the dance is improper for re-entry purposes.
[2] The two-hand turn option is for people allergic to same-role swings, or those that would be confused with having the ones end below the twos in a same-role swing. In this case, the two-hand turn once and a half works fine. This will only happen even times through the dance.
[3] Half the time it's the traditional but very unfamiliar same-role right and left through. You always start by pulling right by your partner, though.
The courtesy turn for a same-role right and left through involves the person on the left walking backwards, and the person on the right walking forwards, just like a normal courtesy turn. It's just the gender roles may be in unexpected places.

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 Forward
by Chris Page
Becket
A1 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
[1] The entire major set forms a giant circle/oval, and rotates clockwise for four steps.
[2] A square dance figure. Ladies take two steps straight forward and back. Meanwhile, gents sidestep to the left behind the next lady.
[3] Gents swing the neighbor they just stepped past, as ladies step back. Done correctly. the swing can be a sort of a "catch" as the gents step by.
[4] Get in promenade position, and promenade around the major set untill you see your partner.
[5] Part of the same 8-beat phrase as the promenade the set.

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.)


Crooked contras

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.


Slip jig contras

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:

Across the Way
by Chris Page
Improper
Needs special music (slip jig)
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]
[1] Ladies join behind their partner. It's sooner than some expect, as ladies are used to joining a star after gents allemande once and a half.
[2] Pass through across the set, passing partner by right shoulder. Turn to face neighbor, then pass through along the set by left shoulder.

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.

Bugaboo
by Chris Page
Improper
Slip jig
A1 (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]
[1] A left-handed version of box the gnat. Join left hands, make an arch, and trade places, ladies going underneath the arch.
[2] No (or very little) time for twirls. In the walkthrough and prompting, I refer to this as a "quick ladies chain".
[3] Pass through across the set, passing partner by right shoulder. Turn to face neighbor, then pass through along the set by left shoulder.

The A1 is a mutant hey for three with hands.

Circular Logic
by Chris Page
Indecent [1]
Slip jig
A1 (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]
[1] Note this dance is indecent.
When facing across at the start of the dance, your shadow is the opposite-role person on right diagonal. And is probably not worth identifying.
[2] You hang on to your neighbor throughout the A2.
[3] In other words, gents just walk straight across the set to their partner swing.
[4] It's worth mentioning that the progression out of the star is with the lady on the left, gent on the right. Dancers are very used to the more standard improper progression, and ladies may bail out of the star early to swing on the wrong side.

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 Expectations
by Chris Page
Improper
Needs special music (slip jig)
A1 (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
[1] This is quick. No time for twirls.
[2] A gate is a figure from English Country Dance. It's equivalent to a hand cast. Both people are facing the same direction, holding nearest hands with good connection. They then walk around in a circle, using the joined hands as the pivot point. One person walks forwards, the other backs up. They are always both facing in the same direction.

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
by Chris Page
Improper
Needs special music (slip jig)
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
[1] Gents may want to pass left from habit. That's fine as long as they don't collide. I chose a right-shoulder pass partly to avoid interference confusion with the B2 allemande.

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 Time
by Chris Page
Improper
Needs special music (slip jig)
A1 (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
[1] Note there are no balances in the square through.

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 Jig
by Chris Page
Improper
Needs special music (slip jig)
A1 (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]
[1] This roll-away is quick, and happens as dancers are backing up. Gents then assist their partner into a circle right.
[2] To transition into the new neighbor swing, drop hands, individually rotate to face your partner, and keep rotating to catch a new neighbor for a swing.

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 Sextet
by Chris Page
Improper
Needs special music (slip jig)
A1 (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
[1] See the glossary for an explanation of pousette. Starts with gents moving forward.
[2] Ladies forward to start.
[3] The swing entry is similar to the ricochet hey/swing transition. As the final half pousette is almost done, gents let go of right hand; ladies let go of left hand. Ladies raise their left arm, and step straight backwards as gents catch their back with their right arm, going directly into the swing. (By this point you drop the other hand with your partner.)
[4] There's little time for twirls. You might want to mention this during the walkthrough.

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 Time
by Chris Page
Becket, counterclockwise
Needs special music (slip jig)
A1 (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
[1] This is just a hey for three on the sides.

My first slip jig contra, written for one of San Diego's bands, Gray Beard.

Slip Sliding Away
by Chris Page
Improper
Needs special music (slip jig)
A1 (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]
[1] Slice: Face the new couple on the _right_ diagonal, come forward, and push straight back. A progressive form of forward and back, as in "Hey Man" by Paul Balliet. With your neighbor, look at the couple on the right diagonal, and go forwards towards them.
[2] The slice is modified so as you go back, gents roll away your neighbor. This roll is to simplify the re-entries to different hands fours -- they're all with the gent on the left, lady on the right. It also provides an assist into the circle right.
[3] To transition into the partner swing, drop hands, individually rotate to face your shadow, and keep rotating to catch your partner for a swing.
[4] Until you see your new neighbor.

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.


Other crooked dances

Cherokee Slide
by Chris Page
Improper, 36-bar tune
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
[1] Holding hands with your partner, go forward and to the right past N1, then forward to the left, until standing in front of N2. (As in "Weave the Line" (video) by Kathy Anderson.)
[2] Then let go of your partner, and take a step forward and to the left to form a wave of four with new neighbors, right hand to this neighbor, ladies take left in the center.
[3] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their neighbor. They can spin clockwise if they choose. (Counterclockwise when they later slide left.) Now the gents are in the center of the wave of four, with left hands to neighbor.

My attempt to write a dance to the orignal (crooked) tune structure of "Cherokee Shuffle."

Chocolate in the Peanut Butter
by Chris Page
Sicilian Circle
Needs special music (see below)
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]
[1] Originally ones are facing counterclockwise, twos are facing clockwise. This is also the direction they face to look for new neighbors.
[2] The "new neighbors" clause is only needed for later times through the dance. First time through they face original neighbors.
[3] The progression happens here.
[4] This part is done in waltz tempo. The B1 is eight measures, or 24 steps long. So is the B2.
[5] As per the A1 of "Chorus Jig," the twos are travelling outside the set. Lady two is on the inside track, gent two on the outside.
[6] The "center" here has the same meaning as the middle of the set for a contra line.
[7] Twos continue to where they started the B1, stopping just as they see the neighbors they swung.
"Counterclockwise" refers to the path they take around the room/set, not the clockwise waltzing motion of the two dancers around each other.
Those that don't know how to waltz can just lead around the central corridor.
[8] Note that ones and twos both travel in the same clockwise direction. There's some broken symmetry here, as it's not perfectly alternating. This time, gent one is on the inside track, lady one on the outside.
[9] Ones need to waltz past the neighbors they just swung to return to place.

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 Stomp
by Chris Page
Improper, 44-bar tune
A1 (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
[1] This hey starts on a slight diagonal. Pass partner right, then gents walk straight across to pass left in the center. Meanwhile, ladies should make an extra-big initial loop, even a step larger than the normal loop in a hey.
The hey will hopefully straighten out as it continues.
It's useful during the walkthrough to have people identify their hands-four just before the hey starts.

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.


Four-face-fours

Contra Canon
by Chris Page
Four-face-four
COMPLEX
   ---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)
[1] This dance is seriously weird.
Dancers assume one of two roles: "first couples" or "second couples," and keep this identity throughout repetitions of the dance. The "second couples" do everything the "first couples" do, but eight beats later.
The "first couples" essentially only interact with each other. Their instructions are above in the left-hand column. The "second couples" instructions are in the right-hand column.
The first time through the dance the "first couples" are those on the left-hand side of their group of four, facing each other on their right diagonal. The others are the "second couples." The next time through the sequence dancers have traded sides, but they have not changed roles.
[2] The promenade is halfway around, counterclockwise, into each other's spot. They go behind the "second couple" as the "second couple" does the forward and back. After the promenade, the "first couple" is in their progressed position.
[3] This is not a zesty give-and-take. It's four beats forward, taking two hands with your neighbor, and four beats backward. Ladies should offer resistance until the "second couple" has promenaded past.
[4] An ordinary ladies' grand chain.
[5] The net effect is: Ladies star right 1/2. "First couples" swing their partner. "Second couples" courtesy turn their neighbor.

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 Purposes
by Chris Page
Four-face-four
A1 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
[1] Pass the one you're facing by right shoulder. Gents turn right, ladies turn left to face the one you're travelling with. (Partner.) Pass partner by left shoulder, go on to the next in your group of eight.
[2] This right shoulder round will probably start a little early.
See the glossary for an explanation of C3.
[3] Overlapping moves in the center. As soon as the heads have passed through, the sides start the crosstrails through.
[4] Pass the one you're facing by right shoulder. Gents turn right, ladies turn left to face the one you're travelling with. (Corner C3.) Pass them by left shoulder, and keep facing in that direction. At the end of the B1, your partner should appear.

Putting crosstrails through in two different contexts.

The Dancer's Duty
Chris Page variant of an Al Olson dance
Four-face-four
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
[1] A nice teaching trick here is to have everybody rotate a quarter turn to their left. This is the wall they'll need to face for the beginning of the hey. (But actually it doesn't matter. The pair of dancers can go either way -- since it's half a hey, they'll end where they start. What matters is they don't panic and in so doing take out the entire line.)
[2] To shorten the swing length, make it a right shoulder round and swing. Or if you want the hey to be an exercise in timing, make it a balance and swing.
[3] You face your partner coming out of the swing.
[4] There's other choices for the circle left 1/2 -- for instance balance the ring and ladies roll away their neighbor.

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
by Chris Page
Four-face-four
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
[1] If you're in the center of your line of four, it's the person next to you who's traveling in your group of four. If you're at the ends, it's the neighbor facing across from you.
[2] Standard promenade direction. Gents are on the inside of this circle as you promenade.
[3] The outside people (ladies) turn over their right shoulder and let go of the person they're promenading. (This has nothing to do with the contra figure "roll away.") The end position is in progressed location, right hand to partner, gents in the center of the eightsome with ladies on the outside. As with many four-face-fours, you switch sides as you progress.
[4] At the end of this, ladies are in a tight circle in the inside.
[5] Out of the box-the-gnat, clockwise should be the natural direction.
[6] Facing new neighbors, the dance begins again, but like "Alternating Corners" by Jim Kitch, it alternates between two symmetric forms.
[7] Don't be scared by the number of footnotes.
[8] Now ladies are on the inside of the promenade.
[9] The outside people (gents) turn over their left shoulder to face the person behind them -- their partner -- in their progressed position.
[10] A left-handed version of the box-the-gnat. (I prefer calling it "twirl to swap.") It ends with the gents in a tight circle in the inside, and the ladies outside, ready to go around the gents.

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 Pousettes
by Chris Page
Four-face-four
A1 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
[1] With the obvious couple, facing up/down.
[2] In groups of four.
[3] For a description of a regular pousette, see the glossary. You do the pousette with the neighbor you faced at the beginning of the dance.
A pousette hey is similar to a couples hey for four. Each end group of two couples does a 1/2 clockwise pousette, with the gents passing back to back. Then the center two couples do a 1/2 counterclockwise pousette, with the ladies passing back to back. Then the end groups do a 1/2 clockwise pousette, and finally the center two couples do a 1/2 counterclockwise pousette.
As in a regular hey for four, the end loops are bigger than the middle loop. But in this context the dancers may not be aware of it, and may stall at the ends rather than going wide -- unless you point this bit out. The end couples need to take about eight beats, requiring them to go extra-wide. I recommend a demo.
[4] Open up the two-hand pousette hold into a ring of four. If everything went well, your partner should be next to you.

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 above

A Properly Proper Hey
by Chris Page
Four-face-four [1]
COMPLEX
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
[1] Ones are facing down, twos are facing up.
[2] The goal is to have the one's line all gents, and the two's line all ladies.
To do this, work in groups of four. The half figure eights are across the set. In each hands-hour, the active half-figure eighters are the ladies in the line of ones, and the gents in the line of twos. I chose to say "the couples closest to the bulletin boards," but that was only because I was lucky enough to have a distinctive wall.
[3] In your same-gender role line.
[4] In your same-gender role line. Begin by passing the one you do-si-did. Finish the half hey facing them.
Important tip! While there are four passes of the hey, each dancer only experiences three of them. (The fourth is the looping around.) If you tell them to pass four times, like I did the first time I called this, people will pass an extra time, fail to progress, and, well, just please learn from my woe....
[5] Groups of four. Your partner should be diagonally from you in your hands-four.

I'd always wondered how to do a proper four-face-four. This isn't it, but it temporarily goes there.

Rush Hour
by Chris Page
Four-face-four
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]
[1] Finish the swing in the direction of progression. The swing is the first move rather than the last to contain the muddy timing to the B1/B2 section.
[2] Note the gents roll in front of the ladies. You could do it the other way, but this way you go from clockwise motion to clockwise motion.
[3] See here for the explanation of C1/C2/C3 notation.
After the roll away, your corner C3 is next to you in the circle of eight.
[4] The moves come fast. While one pair of couples is courtesy turning on the side, the others are charging through the center.
The prompting comes even faster. As an example, starting with the second half of the A2:
"- - - - / Side couples forward and back"
"Head couples right and left through / Side couples right and left through"
"Head couples ladies chain / Side couples ladies chain"
"Head couples ladies chain / Side couples ladies chain"
"with extra courtesy turn / Find your partner, balance and swing"
Now you can think about breathing.
[5] During the walkthrough, remind dancers to do the full courtesy turn, rather than ladies pulling by right and going straight to their partner.
[6] Head couples either do nothing for four beats or an extra courtesy turn.
At the end of the dance, everyone should have their partner next to them, in a different courtesy turn.

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.

Tandemonium
by Chris Page
Four-face-four
COMPLEX
A1 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
[1] See here for the explanation of C1/C2/C3 notation.
[2] As couples: Put your arm on the back of the person you swung, as if about to do a butterfly whirl. The couples petronella turn can also be considered a clockwise butterfly whirl, shifting right one eighth of the way around the circle.
The one eighth is a very important thing to emphasize, since many dancers will legitimately assume one-quarter. I tried the following teach:
Have them form a square after the corner swing. Then have them individually petronella turn one place, and "form a diamond". Notice where they are, then bring them back to the square, and have them do a couples petronella turn, reforming that exact same diamond. And then in the prompting, I'll say "Couples petronella turn, form that diamond."
[3] After the second petronella they've back in a square, at least for the teaching. Sometimes I'll say "form a square" during the prompting, to avoid people getting askew. In the actual dance, the petronella turn is a quarter more until the gents are in the middle.
[4] Gents make a left-hand star in the middle. Hold on to your corner and star promenade halfway around.
Finishing this is tricky. There's no time for a butterfly whirl -- couples merely back out to a square. The prompt "reform the square" is extremely helpful here.
[5] Ladies star right 1/2, courtesy turn with that person. Before chaining, everyone can look across the square for their target person.
[6] Gents look left, ladies look right. Your partner should be next to you.

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
by Chris Page
Four-face-four [1]
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
[1] Technically this is an indecent 4-face-4, but because of the A1 no-one ever needs to know that.
[2] Start this move facing your direction of progression, end facing against your direction of progression.
[3] The group of eight breaks into two groups of four to circle left. Note that the entire B1 and B2 section ends exactly where it starts.
[4] Serpentine: The signature move from the final section of Gary Roodman's English Country Dance composition "Terpsicourante." If you already know the dance, the differences are:
  1. Ladies lead it, rather than the gents.
  2. It's done with your neighbor, rather than partner.
  3. It's done four times, rather than three, so you end the B's where you started.
But let's assume you're not familiar with "Terpsicourante." So, "serpentine" described in all its gory detail:
The four people in the center trade places as couples. It's as if the four people in the center joined hands in a circle while facing out, and circled counterclockwise 1/2. Except you only hold on to your neighbor that you did the circle left 1/2 with, so it's more like a backwards arc.
[5] At this point, everyone is where they were swinging their partner in the A1.

A contrafication version of Gary Roodman's English Country Dance, "Terpsicourante." Given that, there was only one possible name for this dance.

Turnstyles
by Chris Page
Four-face-four
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
[1] Ladies are rolling away gents so you have clockwise rotation going into the swing.
[2] Everyone now facing a side wall, and finish directly in front of their partner. Those facing out are considered middle couples. The middle couples are back-to-back with each other. The A2 keeps the gents in the same place, but moves the ladies.
[3] This is similar to the three-ladies-chain figure. Middle gents start by facing the nearest end couple. They do a ladies chain, but the middle gents do just a half-courtesy turn, until they face each other in the middle. Those four people only do a ladies chain, middle gents doing a half courtesy turn to face the same ends. (While the ladies chain in the middle is happening, the end gents are finishing a full courtesy turn.)
All the above repeats. Each chain takes four beats. Middle gents are acting like revolving doors, or turnstiles.
[4] The final person you chain to is your "trail buddy", or the opposite role person travelling with you from your original line of four. This makes for a nice target.
[5] Your original neighbor on the diagonal.
[6] Gents face their original directions. All roughly facing partner.

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.


Triple Minors

Because It Was There
by Chris Page
Triple Minor -- Triad Formation [1]
Double progression [2]
Needs special music (slip jig [3])

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]
[1] Starting formation: Take a standard proper triple minor. Ones and twos cross over, and then twos and threes circle left 1/4. I describe it as ones improper, twos and threes Becket. For more on Triad formation, see "TLC Tempest."
[2] Twos and threes progress up, staying with each other, but swapping sides as they travel up. Ones progress down past two couples.
End effects at the top: Every third time through the dance, two couples get spit out at the top. The both wait out improper, one below the other. One will get in the next time, the other will have to wait until the time after that.
End effects at the bottom: Couples just wait out on the sides, Becket-like, for a full hands-six to form. Since this is double progression, there shouldn't be any couples at the bottom accidentally trapped there forever.
[3] Done to a special tune. See the section on slip jig contras for details.
[4] As couples, form a triangle, and go four steps into the center of the triangle and back.
[5] All six. It finishes with everyone progressed.
[6] See corner identification for details on C1/C2. C1 is your original corner.
[7] Begin by facing partner, and stay within your minor set. This will take more than 12 counts.
[8] Ones finish facing down. Twos and threes face uppish, having swapped sides.

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 Hey
by Chris Page
Triple Minor -- Triad formation [1]
Double progression [2]
A1 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]
[1] Starting formation: Take a standard proper triple minor. Ones and twos cross over, and then twos and threes circle left 1/4. I describe it as ones improper, twos and threes Becket. For more on Triad formation, see "TLC Tempest."
[2] Twos and threes progress up, staying with each other, but swapping sides as they travel up. Ones progress down past two couples.
End effects at the top: Every third time through the dance, two couples get spit out at the top. They both wait out improper, one below the other. One will get in the next time, the other will have to wait until the time after that.
End effects at the bottom: Couples just wait out on the sides, Becket-like, for a full hands-six to form. Since this is double progression, there shouldn't be any couples at the bottom accidentally trapped there forever.
[3] At this point, it's probably best if the twos and threes (side couples) face across. Then they can make sure that the ones lead down until they're between new neighbors. Then the side couples can also pivot to face down, to form the new line of six.
[4] There's a bit of upwards set drift because of the progression, so it's best if the turn alone is delayed by an extra beat or two longer than usual.
[5] Gents face up, ladies face down, left hand to partner.
[6] As in the dance "Rory o' More," the middle four people sidestep to their right, passing nose to nose with their neighbor. They can spin clockwise if they choose. (Counterclockwise when they later slide left.) They reform the wave with left hands to this neighbor.
Meanwhile the two end people just pivot in place/turn around to face the other direction. There's probably a cool way to do this, but I haven't figured it out yet.
[7] Everyone keeps turning untill they face their partner.
[8] Starts with a pull by. Finishes when they see their partner again.
[9] Ones face down. Others face across.

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 Triangle
by Chris Page
Triple Minor -- Triad formation [1]
Double progression [2]
COMPLEX
A1 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
[1] Starting formation: Take a standard proper triple minor. Ones and twos cross over, and then twos and threes circle left 1/4. I describe it as ones improper, twos and threes Becket. For more on Triad formation, see "TLC Tempest."
[2] Twos and threes progress up, staying with each other, but swapping sides as they travel up. Ones progress down past two couples.
End effects at the top: Every third time through the dance, two couples get spit out at the top. The both wait out improper, one below the other. One will get in the next time, the other will have to wait until the time after that.
End effects at the bottom: Couples just wait out on the sides, Becket-like, for a full hands-six to form. Since this is double progression, there shouldn't be any couples at the bottom accidentally trapped there forever.
[3] Side couples right and left through. (There's no need to identify twos and threes by number when teaching or calling.)
[4] The rest of the A1/A2 is driven by the ones. They do a series of right and left throughs, going around a triangle to visit each spot in their minor set. First they face down and to the right, then across, and finally up towards their original position.
[5] Counterclockwise, in your group of six.
[6] The progression happens here. Ones face down. Twos and threes face uppish, having swapped sides. This is an "into the center and back" rather than "long lines forward and back."

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 Rainbows
by Chris Page
Triple Minor -- Triad Formation [1]
Double progression [2]
A1 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]
[1] Starting formation: Take a standard proper triple minor. Ones and twos cross over, and then twos and threes circle left 1/4. I describe it as ones improper, twos and threes Becket. For more on Triad formation, see "TLC Tempest."
[2] Twos and threes progress up, staying with each other, but swapping sides as they travel up. Ones progress down past two couples.
End effects at the top: Every third time through the dance, two couples get spit out at the top. The both wait out improper, one below the other. One will get in the next time, the other will have to wait until the time after that.
End effects at the bottom: Couples just wait out on the sides, Becket-like, for a full hands-six to form. Since this is double progression, there shouldn't be any couples at the bottom accidentally trapped there forever.
[3] The center of your group of six.
[4] From the original hands-six, your partner is in one hand, your C1 corner is in your other hand.
"Lead out" means to walk away from the center of the set, holding nearest hand with your corner.
[5] The timing here is a little finicky. (See this video for more help.) Roughly it should be about three steps forward into the center, one beat to turn around, and then move out for four beats, doing the California twirl while moving further out.
[6] Your C2 corner is the next person around the circle.
[7] At this point, everyone is progressed.
[8] Ones swing in the center of the set, others swing on the side of the set.
After the swing, face new neighbors. Ones face down, side couples (twos and threes) face up-ish, and on the diagonal.

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 Borrowed
by Chris Page
Triple Minor -- Triad formation [1]
Double progression [2]
A1 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]
[1] Starting formation: Take a standard proper triple minor. Ones and twos cross over, and then twos and threes circle left 1/4. I describe it as ones improper, twos and threes Becket. For more on Triad formation, see "TLC Tempest."
[2] Twos and threes progress up, staying with each other, but swapping sides as they travel up. Ones progress down past two couples.
End effects at the top: Every third time through the dance, two couples get spit out at the top. The both wait out improper, one below the other. One will get in the next time, the other will have to wait until the time after that.
End effects at the bottom: Couples just wait out on the sides, Becket-like, for a full hands-six to form. Since this is double progression, there shouldn't be any couples at the bottom accidentally trapped there forever.
[3] Ladies star right, passing their partner, then courtesy turn with the next gent.
[4] All six hands-across star left. Everyone should have left hands with their partner.
[5] At this point, everyone raises their joined hands in the star. One pair has their hands below the others. The gent of that couple gently pulls his partner under the arches into a swing, which happens at about the same location as where they started the dance.
For the remaining two couples, the now-bottom couple has the gent pull his partner into a swing. And then the final gent pulls his partner into a swing. All this should take 4-8 beats until everyone is swinging.
[6] Counterclockwise, in your group of six.
[7] The progression happens here. Ones face down. Twos and threes face uppish, having swapped sides. This is an "into the center with your partner and back" rather than "long lines forward and back."

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
by Chris Page
Triple Minor -- Modified Tempest/Triad formation [1] [2]
Double progression [3]
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]
[1] Take a standard triple minor set-up: hands six, ones progress down, twos and threes progress up. Have the ones cross over to become improper. Twos cross over, and circle one quarter with the threes so they're Becket-like. Twos and threes then step away from each other, and ones lead down about two steps till they're between the other couples, as if ready to form a line of six facing down the hall, ones in the middle and twos on one end, threes on the other.
This dance could be thought of as Tempest formation with only one couple #1 between each pair of twos. (As in "Garbology" by Erik Hoffman, from "The Contrarian.") Or it could be thought of as a double progression triple minor where twos and threes are becket, and ones are improper between the twos/threes. This is similar to "Alamo Triad" and "Twenty-First of May Contra" by Bob Marr; and "Bastille Day Reel #1 and #2" by Al Olson. (All those dances are in "Give-and-Take.")
[2] End effects at the top: Every third time through the dance, two couples get spit out at the top. They both wait out improper, one below the other. One will get in the next time, the other will have to wait another time. Entry is at the bottom of the B2.
End effects at the bottom: Couples just wait out on the sides, Becket-like, for a full hands-six to come to them. Since this is double progression, there shouldn't be any couples at the bottom accidentally trapped there forever.
For teaching purposes, the most important end effects are at the top.
[3] Note the twos and threes never trade roles as they work their way up the set. The dance is pretty symmetric between the roles of the twos and threes, but the end of the A2 could be tweaked to make it alternating. [4]
[4] It actually doesn't matter whether the ones face the side couple on the left or on the right. However, the notation for this dance transcription assumes couple 1 faces couple 2. To make it perfectly fair [3] and a bit more complex, the facing direction of the ones could alternate; or done to random dancer choice.
[5] The three ladies chain figure is a sequence of six two-couple ladies chains. The middle gent only does half-courtesy turns, alternating the direction of the ladies chain. (He acts as a kind of revolving door.) It all ends where it starts. A standard full ladies chain (over and back) is to a hey for four as a full three ladies chain is to a hey for six.
[6] After the final courtesy turn, the ones face down, and lead down until they're between the next group of side couples. This is where couples waiting out at the top get into the dance. (If there's two couples waiting out, they take turns. One goes in this time, the other goes in next.)
This move will cause the dance to drift downwards. To fight this, try:
[7] The left shoulder round should theoretically take eight beats. Except the threes will probably finish their courtesy turn of the last ladies chain. So for them the left shoulder round will only be four beats long.
Unless prompted a few times, some dancers will miss this bit and freeze after the three ladies chain. Thankfully this is only an aesthetic problem.

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 Reel
by Chris Page
Triple Minor -- Triad formation [1]
Double progression [2]
COMPLEX
A1 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]
[1] Starting formation: Take a standard proper triple minor. Ones and twos cross over, and then twos and threes circle left 1/4. I describe it as ones improper, twos and threes Becket. For more on Triad formation, see "TLC Tempest."
[2] End effects at the top: Every third time through the dance, two couples get spit out at the top. They both wait out improper, one below the other. One will get in the next time, the other will have to wait until the time after that.
End effects at the bottom: Couples just wait out on the sides, Becket-like, for a full hands-six to form. Since this is double progression, there shouldn't be any couples at the bottom accidentally trapped there forever.
[3] Twos and threes can be thought of as side couples -- no numbers are needed when teaching or calling.
[4] Gent two and gent three pass right shoulders, trading places. Twos face up, ready to swing the ones.
[5] Ones face down, and swing the person immediately below them.
[6] Only hold hands with those in your minor set. Everyone is facing across.
[7] Wagon wheel: Ones link elbows with either person on their side/line, still facing across. Ones then take a two-hand hold with each other. The whole contraption rotates 270 degrees clockwise ending with everyone facing their partner up or down.
[8] Ones in the middle.
[9] At the end of the B2 ones face down, twos and threes face across. Twos and threes will have switched sides.

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.


Triplets

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 Through
by Chris Page
Triplet
Ones and twos improper [1]
Finishes 3-1-2
A1 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]
[1] Twos could be proper or improper. Ones must be improper, threes must be proper. This is very important.
[2] Until across from partner. There's a little extra time to "fall back", meaning lines of three back up from each other.
[3] Led by the center person in each line of three. This results in everyone facing out.
Right-hand-high-left-hand low is a way to invert a line of three without ever dropping hands. The center person raises their right arm to make an arch. He/she brings both ends in front of them -- the left-end person stays close to the center person and goes under the arch. The right-end person takes the outer counterclockwise track. The ends have then exchanged places. Towards the completion of this, the center person turns clockwise 180 degrees under his/her own right arm so the line of three faces out.
[4] The center person now brings their two end people in front of them to swing (on the outside of the set). Centers stay in the middle, facing down, eventually to be a line of six facing down.
If the centers sneak in a swing, it will change the configuration of the line of six, but the dance will still work.
[5] Shorter than dancers expect. Only about four steps.
[6] Done in threesomes.
[7] Threes are at the top, twos are at the bottom.
Middle couple could swing their partner, but then they have to be alert to transition into the middle of the circle left for all.

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
by Chris Page
Triplet
Ones improper
Finishes 3-1-2
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]
[1] A right and left through facing up/down. The couple finishing in the middle (the ones) does an extra half courtesy turn, called a power turn, until they face the threes.
[2] The couple finishing in the middle (the threes) does an extra half courtesy turn, until they face up towards the twos.
[3] "Balance and swing the one you face."
[4] End the swing by facing into a circle/triangle for six. Your current corner is on the gent's left, and the lady's right. Your current opposite is straight across from you.
To do a right and left through for six, pull by your current corner with right hands, and meet your opposite for a courtesy turn. Face back into the circle of six.
[5] All six circle until you're across from your partner.
[6] Finishes with top couples (new ones) facing down, others facing up.

Inspired by Colin Hume's discussion on hexagonal squares. I got rid of the three side couples and wrote a triplet.

Tea for Three
by Chris Page
Triplet
Ones and twos becket, threes proper [1]
Finshes 3-1-2 (or one place counterclockwise around circle)
COMPLEX
A1 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]
[1] Line up proper. First couple crosses over to improper sides, then top two couples circle left 1/4 so they're on the sides of the set.
This gives a circle of three couples, with threes at the bottom facing up.
[2] Ladies make a right-hand star, pass their partner, and courtesy turn with the next.
[3] The person they're opposite when facing across. For the top two people, it's their partner. For the bottom two, it's the one they just courtesy turned. For the middle people, it's the leftovers.
[4] The top couple faces up, and individually casts (turns away from each other and goes down the outside to the bottom of the set). Other people in their column follow them. As this happens, the cast turns into a circle for the grand right and left.
Following couples should go extra wide to give the lead couple time to do the first pull by.
[5] Lead couple pulls by right, then pull by left with the next one they face. Then everyone's in for the next pull by right.
[6] Three more changes. Finishes with everyone facing their partner, the lead couple back at the bottom of the set.
[7] Reform the triplet/circle, with one couple at the bottom, and the two top couples at the sides, facing slightly downish.

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
by Chris Page
Triplet
Ones improper
Finishes 2-3-1
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]
[1] A right and left through facing up/down. The couple finishing in the middle (the ones) does an extra half courtesy turn, called a power turn, until they face the threes.
[2] See "TLC Tempest" for a description of a three ladies chain. Or see this video.
[3] Finishes where it started with ones in the middle facing down, threes at the bottom facing up.
[4] Meanwhile, twos could balance and swing their partner.
[5] If twos swing their partner, have all six go into the center and back instead.
[6] Top couple finishes facing down, others face up.

This puts the three ladies chain figure into its most logical formation -- a triplet. See "TLC Tempest" for this figure set in a contra.


Squares

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...

Xenotransplantation
by Chris Page
Square
Mixer, HHSS
Corner C3 [1] progression (Right-hand lady)
A1 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
[1] See here for the explanation of C1/C2/C3 notation.
[2] All are facing original corner, C1. Heads have their backs to their partners.
[3] This is similar to the three-ladies-chain figure. Head gents start by facing the sides. They do a ladies chain, but the head gents do just a half-courtesy turn, until they face each other in the middle. Those four people only do a ladies chain, head gents doing a half courtesy turn to face the same sides. (While the ladies chain in the middle is happening, the side gents are finishing a full courtesy turn.)
All the above repeats. Each chain takes four beats. Heads end up with their partner, sides end up with their opposite. All are facing their C3 corner.

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.


Square dance breaks

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
Square dance break figure
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 Break
by Chris Page
Square dance break figure
A1 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)
[1] All eight hold hands in a ring throughout this figure.
[2] This starts a quick series of catch and releases.

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.


Virtual contras

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.

Singlets

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.

Asides
by Chris Page
Singlet
Couple facing up
A1 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
[1] For this mad robin, you step sideways around your partner, facing up.
[2] Now, you step sideways down around a ghost, while facing your partner.
[3] Diagonally cross down, then cast up.
[4]The second half figure eight starts with a diagonally crossing down, but facing each other across. As you and your partner enter the center of the set, you both ricochet off each other, both going backwards and down. Then you go up the outside to where you started the secoond half figure eight.
[5] An adaptation of the contra version of the tag the line figure. While facing down, sidestep to trade places with your partner (ladies in front, gents behind.)

Untested, but it should work. (Granted, with just one person or two people, it's hard to write something that completely fails.)

Cloverleaf Exchange
by Chris Page
Singlet
Couple facing down
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]
[1] You finish about four steps above where you started. This is to compensate for the A2.
[2] Loop away from your partner. The person started the dance on the left will always be looping counterclockwise during the A2, the person who started the dance on the right will always be looping clockwise. Each turn single is only 270 degrees.
[3] This whole section from above should look like three-quarters of a cloverleaf interchange.
[4] Here you're passing an imaginary dancer, as you passed your partner earlier. (Though this time it's up/down rather than across.)
[5] For the mad robin, face your partner across the set, and start by sidestepping up. (Updated 1/2/2021 from 1 & 1/2 to 1, due to timing issues. Timing in the A1 also adjusted.
[6] Face down.

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
by Chris Page
Singlet [1]
No progression
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]
[1] Begins with one couple facing up the hall.
[2] Phantoms are imaginary dancers/posts used as needed for the pattern.
For a single person, the pattern of the two half figure eights will feel like a diagonal oval.
[3] You're walking a square on your side of the set, mirroring your partner. Walk three steps in one direction, then on the fourth beat turn 90 degrees. An example (with different timing -- two steps to walk and then one to turn) of two consecutive petit-fours is here.
[4] Hold nearest hand with partner here. Crisp 90 degree turns squarify the feel of the square.
[5] Or, if you want it to feel more like a grand square, face up to begin this bit, but fall backwards down the outside of the set.
[6] Small steps.
[7] This is an adaptation of a hey for four across the set, passing partner right in the center, and passing phantoms left on the ends.
[8] Turn single left means loop left till you're facing your partner again.
[9] Finish the swing facing up.

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 Zero
a Chris Page variant of a Steve Zakon-Anderson dance
Singlet
Start back-to-back with partner [1]
A1 (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
[1] Begin close to partner, but facing away. Ideally one person facing up, the other facing down, or whatever the long axis of the room is.
[2] If this looks familiar, it's because it's stolen from "Three Thirty-Three" by Steve Zakon-Anderson.
[3] No specific distance. What's more important is the timing.
[4] Walk a small clockwise circle, finishing where you start.
[5] The lead and cast means take about three steps up, then peel away from your partner, curving down untill you are back where you started, but facing your partner.
[6] Until one person is facing up, and the other is down. You can swap who's going up or down. If you're feeling really adventurous (and have room), you can aim any direction you like.

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
by Chris Page
Singlet [1]
No progression
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]
[1] Begins with one couple facing down the hall, in closed position.
[2] A bit of footwork, done with the foot in the direction you'll next be travelling in. (Probably gents' left, ladies' right.) Extend the leg out, touching the ground with your heel. ("Heel."). Then bring it back, touching the ground with your toe. ("Toe.") Repeat. Thankfullly there's a video example you can watch instead.
[3] To make this transition, one person will need to travel slightly futher than the other on the last sashay./
This allemande could also be just once around.
[4] The most natural position here is cross-hand hold rather than closed position.
[5] Ideally at the end of this figure you're back where you started the dance. Switch hands from left to right.
[6] The right-hand turns of contra corners are done with partner. The left-hand turns are done with imaginary ghosts/phantoms.
[7] Finish the swing facing down.

And now my attempt to choreograph something completely different.

The signature figure is taken from the circle mixer "Patty-Cake Polka".

Split Infinitive
by Chris Page
Singlet
Wave of two [1]
A1 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]
[1] Starts in a wave of two, right hand to your partner.
[2] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their partner. They can spin clockwise if they choose. (Counterclockwise when they later slide left.)
[3] Catch left hands with your partner, pull by left, and make a big clockwise loop as if you were doing the end loop of a hey.
[4] Now you're in a wave of two, left hand to your partner. Everyone is in original places, but facing the opposite direction.
[5] Face up. With your partner take about three steps up, then peel away from each other and cast down, meeting your partner.
[6] Allemande until the music finishes. It doesn't really matter which direction the wave is oriented.

The A1 and A2 are inspired by the Bob Isaacs dance, "Banana Split."

Staying Home
by Chris Page
Singlet
Couple facing down
A1 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
[1] Balance while both people are facing down.
[2] Or just the person on the left rolls away the person on the right.
[3] Sidestep around your partner, while facing down. When finished, flip around over your left shoulder to face up.
[4] Now sidestep around your partner, while facing up.

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.


Doublets

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 Wall
by Chris Page
Doublet
A1 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]
[1] Hand-in-hand with partner, facing neighbor.
[2] At the beginning of the dance, agree that one couple is the ones, and the other is the twos. Everybody walks forward to get to the other side of the set.
[3] Finish facing your neighbor, but this time the entire set's been rotated 90 degrees, so everything has a new orientation.

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 Around
by Chris Page
Doublet
Improper, facing neighbor
A1 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
[1] See the glossary for a definition of mad robin.
[2] As you finish the second half mad robin, catch nearest hand with your neighbor to enter into the couples seesaw.
[3] Hold on to your neighbor, and do a left-shoulder couples do-si-do around the other couple that includes your partner.
[4] No balances. Three pull-bys: neighbor right, partner left, neighbor right, then face partner.

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.)

Rotary
by Chris Page
Doublet, ones above twos, facing neighbor up/down
A1 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]
[1] See the glossary for an explanation of pousette. Face up/down, and take two hands with neighbor. Starts with ladies going forward, gents backwards.
[2] Note the direction of this pousette is rotated 90 degrees from the previous pousette. You push your partner across, rather than up/down.
To begin, pivot in place to face your partner across the set. Begins with ladies going forward, gents backwards. During this figure, gents are facing the same wall they'll face for the end of the B1 swing.
[3] To begin this, ladies take a step back from their partner and to their right. Gents take a step to their left, to face the other gent in the center of the set. Then, while gents allemande right 1, ladies go halfway around the outside.
[4] Ideally when this starts, everyone is facing their partner up/down on the side of the set. Meet your partner, then push off and back to the right, and walk a counterclockwise circle, as sort of a cross between a mad robin and a ricochet hey.
[5] At the end of the swing, face across. The dance so far has been the equivalent of a circle left 3/4 from initial positions.
[6] Promenade counterclockwise 3/4 of the way around, till you're in your starting position, facing up/down in your original direction.
[7] Holding nearest hand with your partner, face your neighbor as you go forward and back.

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 Here
by Chris Page
Doublet
Becket [1]
No progression
A1 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
[1] Starts in a wave of four, right hand to partner, gents in the center joining left hands.
[2] As in the dance "Rory o' More," everyone sidesteps to their right, passing nose to nose with their partner. They can spin clockwise if they choose. (Counterclockwise when they later slide left.) Now the ladies are in the center of the wave of four, with left hands to partner.

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.


Other

Stuff that defies easy categorization.


Sevenpins
by Chris Page
Three-face-three with a seventh person (sevenpin) in the middle [1]
Double progression for the threesomes
Semi-mixer [2]
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]
[1] The set-up is a "standard" three-face-three, sort of like a proper/improper dance, but with partnerships of three people rather than two. There are no gender roles in this dance. Between each hands-six is a lone seventh person, called the "sevenpin."
[2] During the course of the dance, the sevenpin will switch with one of the other six people, joining that new threesome and creating a new sevenpin. The threesomes progress onwards, while the position of the sevenpin stays put.
[3] Like a standard promenade, the left-hand person passes left shoulders with the groups promenading the other way. They also pass left shoulders with the sevenpins, who stay put. Unlike a standard promenade, it's done with groups of three, so choose whatever handholds you like.
The progression is till the threesomes are facing/surrounding a new sevenpin. If they reach the end, they need to immediately turn around.
For compact sets, there might be time for a forward and back.
[4] At this point, the sevenpin needs to sidestep out of the way, as they're currently standing in the star's ground zero.
[5] Actually it doesn't matter which direction the sevenpin goes around the star. They just need to be ready to choose someone to swing.
[6] An alternate A2 would involve six people circling left and right around the sevenpin in the middle. I may end up changing the dance to that version.
[7] At this point there will be a line of three and a line of two, each facing original direction. At the end of the B1 swing, the old sevenpin joins the line of two as a new partner. The person he/she swung is the new sevenpin.
[8] The basket swing finishes facing the same people.

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.


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