831:
which terms to use, many dances have settled on 'larks' and 'robins' (with larks ending the swing on the left and robins ending the swing on the right). Other communities use other terms, including 'bands/bare arms' (replacing 'gents' and ladies') 'leads and follows', and 'gems and rubies', or any number of other determiners. Gender-free dancing originally focused on "queer contra dances", focused on gay, lesbian, bisexual, transgender, and queer communities, and organized under the auspices of the
585:; see illustrations, below). In non-Becket dances this is done by moving the 1s to the bottom of their minor set and moving the 2s to the top of it: the 1s now have a different pair of 2s below them. In Becket dances, 1s progress by moving to the place formerly occupied by the 1s below them; similarly, 2s move to the place formerly occupied by the 2s above. (see "Formations", above, for definitions of terminology)
25:
736:, on the other hand, are very simple: The roles of 1s, 2s, and 3s are reassigned each time through the dance, so that at the start of each time through the dance the head couple is the 1s. Progression may move the 1s to the foot of the set or the 3s to the head of the set, or may differ for the ladies and gents.
266:
dances are essentially improper dances in which each minor set has been rotated ¼ turn clockwise - lines are "gent-lady-gent-lady", with dancers standing on the same side of the set as their partners and across from their neighbors. Becket formation was introduced to contra dance in the 1950s by the
428:
of the traditional
English country dance triplet, using modern contra dance tempo and moves; he composed a first triplet in 1968 and more than 41 of his triplets have been published. In his lifetime they were more commonly seen, though they have been composed and called by a number of choreographers
780:
G1 L3 G5 L7 G9 L11 ... --> L1 G3 L5 G7 L9 G11 ... --> G2 L4 G6 L8 G10L12 ... --> L2 G4 L6 G8 L10G12 ... --> L4 G2 L8 G6 L12 G10 ... --> G4 L2 G8 L6 G12 L10 ... --> L3 G1 L7 G5 L11 G9 ... --> G3 L1 G7 L5 G11 L9 ... --> G4 L7 G1 L11 G5
784:
Key: band is to the left; for the triple and four-face-four, the first time through the dance is depicted at the top and the second time through is below it (and the third below that, etc), while for the triplet the first time in depicted on the left, the second to the right of that, etc; couples
769:
L1L2L3. --> L2L3L1. --> L3L1L2. --> etc. G1G2G3. --> G2G3G1. --> G3G1G2. --> etc. or L1L2L3. --> L3L1L2. --> L2L3L1. --> etc. G1G2G3. --> G3G1G2. --> G2G3G1. --> etc. or L1L2L3. --> L3L1L2. --> L2L3L1. --> etc. G1G2G3. --> G2G3G1. -->
830:
Gender-neutral dances (a modern, though still less common variation) define the traditional "gents" and "ladies" roles in a gender-free way, originally by having half of the dancers (those dancing the gents' role) wear an armband, though this has largely changed. After extensive discussion about
336:
Traditional dance choreography left the actives doing much more than the inactives. Modern choreographers typically want everyone to be active, so the roles have been renamed "1" and "2". At the same time, improper and Becket dances have become more common than proper ones as choreographers and
846:
An alternative movement within some contra dance communities emphasizes "positional calling", in which dancers are referred to by the positions ("lefts and rights") they occupy. This requires more care and effort by the dance caller, but attempts to sidestep controversies over the merits of
413:
dances after the traditional dance of this form) can be formed by placing two duple-improper sets next to each other. Each couple has a "shadow couple" with whom they are working for the entire dance — the minor sets consist of eight people. These are sometimes referred to as "squantras" or
758:
L1L2L3 L4L5L6..........LXLYLZ --> G1G2G3 G4G5G6..........GXGYGZ --> L2 L1L3L5 L4L6L8...LULWLY LXLZ --> G2 G1G3G5 G4G6G8...GUGWGY GXGZ --> L2 L3 L1L5L6..........LULZLZ LX --> G2 G3 G1G5G6..........GUGZGZ GX --> L2L3L5...................LULZLX --> etc
441:
formation is adapted from the
English Country Dance of the same name. A line of two couples (progressing down) faces down in the center, and in front of them on each side are two couples facing across, and progressing up. The whole formation forms a flat U-shape if viewed from
377:, only the head couple is active. After once through the dance, this couple is left at the foot of the set. Whole-set dances are now most commonly used with groups that are largely composed of beginners, such as children, occasional community dances, and wedding receptions.
838:
Although some communities historically used armbands, ties, or other visual markers to signify of each role, they are now used less frequently, allowing dancers to switch roles during a dance: "Dance with who's comin' at ya" is the principle. See
546:
Note: As there is no limit on set length for triples or indecent dances (other than the number of people the venue will accommodate), the "..." can represent any number of couples, though in certain dances, 5-6 couples are allowed at most.
331:
Note: As there is no limit on set length for these dances (other than the number of people the venue will accommodate), the "..." can represent any number of couples, though in certain dances, 5-6 couples are allowed at most.
819:
As there is no limit on set length for triples (other than the number of people the venue will accommodate), the "..." can represent any number of couples, though in certain dances, 5-6 couples are allowed at most.
723:
as the other couples (2's and 3's) progress upward one place at time, they change roles each time through the dance: 2s become 3s become 2s become 3s (e.g. couple #5 in the illustration);
680:
one time through the dance and then comes back in, now heading in the opposite direction. A couple re-entering at the head of the set (formerly 2s) re-enter as 1s, and vice versa.
701:"waiting" out does not necessarily mean being uninvolved: many modern dances include figures which use the waiting dancers for a moment and then return them to where they were.
676:
at the head with no 1s above them to dance with; if there is an even number of couples in the set, a pair of 1s is also left out at the foot. This is not a problem: the couple
588:
A dance will typically run at least long enough for every couple to dance with every other couple both as a 1 and a 2 (though extremely long sets may require shorter dances).
729:
when out at the foot, dancers wait until they have a foursome, and then dance with an imaginary third couple - if they don't, the bottom couple will never re-enter the dance.
710:
Progression looks a little different in triple minor dances and triplets (see illustrations, below; "Formations, Less common," above, for definitions of these dance types).
657:
As there is no limit on set length for these dances (other than the number of people the venue will accommodate), the "..." can represent any number of couples.
742:
progress as standard duple improper contra lines, except that in many dances each couple exchanges places with its shadow couple every time through the dance.
399:, triple minor contra dances are rare. In triple minors and triplets, the first couple are called actives and both the second and third couples are inactives.
698:
have their own ways of moving couples into progressed position, and couples waiting out must take this into account when choosing how to place themselves;
178:
Couples interact primarily with an adjacent couple for each round of the dance. Each sub-group of two interacting couples is known to choreographers as a
691:
partners must trade places while waiting out (in the illustration above, G2 and L2 are switched with respect to where G1 and L1 where before progression)
816:
Improper triple minor and improper triplet progression, differing from their proper counterparts only in the 1s being crossed over, are not depicted.
214:. If there is an uneven number of couples dancing, the bottom-most couple will wait out the first time through the dance (see "Progression," below).
139:
first instructions for each dance are usually to move the dancers into their starting positions according to the choreography for that dance.
835:. More recently, this terminology has been adopted by many mainstream contra dances, especially in the U.S. Northeast and West Coast.
175:
Couples consist of two people, traditionally but not necessarily one male and one female, referred to as the gent or gentleman and lady.
42:
925:
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89:
186:. (Not all dances are done in two-couple minor sets - see "Formations, Less common," below.) Couples in the same minor set are
61:
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L1 G1 L1 G1 ... G2 G2 ... L2 L2 ... G3 G3 ... L3 L3 ... G4 L4 G4 L4 ...
68:
664:
Becket progression is illustrated. The entire set can be conceived of as a squashed circle. Many Becket dances progress
131:
describes the arrangement of dancers into contra dance sets and minor sets. There are various forms, and each dance's
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35:
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L10 ... etc. L4 G7 L1 G11 L5 G10 ... etc. G3 L8 G2 L12 G6 L9 ... etc. L3 G8 L2 G12 L6 G9 ... etc.
510:
G1 L2 G1 L2 G1 L2 G1 L2... L1 G2 L1 G2 L1 G2 L1 G2... G1 L2 G1 L2 G1 L2 G1 L2... L1 G2 L1 G2 L1 G2 L1 G2...
435:
dances are duple-minor contras in which the twos cross over, as opposed to the ones in an improper dance.
947:
396:
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271:, and is named after his dance the "Becket Reel", or the town of Becket, Massachusetts, where he taught.
624:
L1G1 L3G3... --> L1G1 L3G3... --> etc G2L2 G4L4... --> G2L2 G4L4 G6L6... --> etc
561:
A fundamental aspect of contra dancing is that the same dance, one time through which lasts roughly 30
565:, is repeated over and over - but each time you dance with new neighbors. This change is effected by
268:
614:
G1L2 G3L4... --> L2 G1L4 G3L6... --> etc L1G2 L3G4... --> G2 L1G4 L3G6... --> etc
604:
L1L2 L3L4... --> L2 L1L4 L3L6... --> etc G1G2 G3G4... --> G2 G1G4 G3G6... --> etc
840:
190:. Minor sets originate at the head of the set, starting with the topmost dancers as the 1s (the
627:
Key: musicians and caller are to the left; the first time through the dance is depicted on the
82:
921:
136:
654:
In practice, all couples are evenly spaced; the groupings are just to clarify relations.
152:
Contra dances are arranged in long paired lines of couples. A pair of lines is called a
241:
dances all the gents are in one line, and all the ladies are in the other; dancers are
941:
904:
Listen to the mockingbird: more great dances for children, schools & communities
865:
425:
122:
260:, switching places with their partners. The result is "lady-gent-lady-gent" lines.
716:
look complicated on paper. Features of the progression in a triple minor dance:
24:
164:
of the set being the end closest to the band and caller. Correspondingly, the
424:) set is three couples — are also rare. The triplet form is an adaption by
345:
There are many additional forms a contra dance may take. Five of them are:
156:. Sets are generally arranged so they run the length of the hall, with the
414:"contrares" because they borrow eight person figures from square dancing.
562:
233:— based on two-couple minor sets (see triple minor formation below).
217:
There are three common ways of arranging dancers in the minor sets:
906:. Brattleboro, VT, New England Dancing Masters Productions, 1997.
726:
when out at the top, dancers wait until they have a full sixsome.
18:
720:
1s move down one place each time through the dance, as usual;
469:
G1 L2 L3 G1 L2 L3 G1 L2 L3... L1 G2 G3 L1 G2 G3 L1 G2 G3...
459:
L1 L2 L3 L1 L2 L3 L1 L2 L3... G1 G2 G3 G1 G2 G3 G1 G2 G3...
337:
dancers have come to desire greater neighbor interaction.
870:
832:
500:
L1 G2 L1 G2 L1 G2 L1 G2... G1 L2 G1 L2 G1 L2 G1 L2...
309:
L1 G1 L1 G1 L1 G1 L1 G1... G2 L2 G2 L2 G2 L2 G2 L2...
299:
G1 L2 G1 L2 G1 L2 G1 L2... L1 G2 L1 G2 L1 G2 L1 G2...
289:
L1 L2 L1 L2 L1 L2 L1 L2... G1 G2 G1 G2 G1 G2 G1 G2...
843:
for a discussion of gender roles in square dancing.
643:couples are 2's; couples in the same minor set are
229:formation (see illustrations below). All three are
49:. Unsourced material may be challenged and removed.
420:, which are "triple major" dances — the entire (
172:of the set is the end furthest from the caller.
395:form above). While triple minors are common in
631:, and each successive time through is to the
8:
759:G2G3G5...................GUGZGX --> etc
109:Learn how and when to remove this message
898:
896:
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16:Arrangement of contra dancers into sets
747:Progression in less common set layouts
866:"Appendix A: Contra Dance Formations"
7:
391:or three-couple minor sets (see the
47:adding citations to reliable sources
920:. Country Dance and Song Society.
121:This article supplements the main
14:
833:Lavender Country and Folk Dancers
593:Progression in common set layouts
672:Progression leaves a pair of 2s
405:contra dances (sometimes called
249:of) the set from their partners.
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753:Proper Triple Minor progression
573:the set and the progressing 2s
34:needs additional citations for
1:
361:(all illustrated below), and
210:their neighboring 2s; 2s are
847:tradition and inclusivity.
429:up through the present day.
135:specifies its formation. A
964:
883:Nielsen, Erica M. (2011).
775:Four-face-four progression
764:Proper Triplet progression
523:Key: Band is to the left;
312:Key: band is to the left;
120:
706:In less common formations
328:s=twos (inactive couple)
206:). The 1s are said to be
324:s=ones (active couple),
198:); the other couple are
916:Sannella, Ted. (1995).
645:not separated by spaces
448:Less common set layouts
823:
670:
635:preceded by an arrow;
557:In standard formations
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279:(all are duple minor)
744:
590:
464:Improper Triple Minor
445:
397:English country dance
274:
902:Davis, Andy, et al.
770:G3G1G2. --> etc.
609:Improper progression
373:dances, such as the
182:and to dancers as a
43:improve this article
887:. pp. 119–120.
489:G1 L2 L3. L1 G2 G3.
479:L1 L2 L3. G1 G2 G3.
454:Proper Triple Minor
58:"Contra dance form"
864:Dart, Mary McNab.
619:Becket progression
599:Proper progression
277:Common set layouts
918:Balance and Swing
666:counterclockwise.
129:Contra dance form
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411:Portland Fancy
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583:down the hall
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54:Find sources:
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32:This article
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885:Folk Dancing
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41:Please help
36:verification
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694:individual
579:up the hall
567:progressing
552:Progression
393:duple minor
383:dances, or
341:Less common
231:duple minor
221:formation,
851:References
826:Variations
683:Note that
543:s=threes.
407:Mescolanza
258:cross over
143:Formations
99:March 2019
69:newspapers
678:waits out
662:clockwise
371:whole-set
363:whole-set
204:inactives
188:neighbors
180:minor set
942:Category
809:are 3s.
801:are 2s,
793:are 1s,
734:Triplets
539:s=twos,
535:s=ones,
494:Indecent
433:Indecent
418:Triplets
389:sixsomes
355:indecent
294:Improper
254:improper
223:improper
184:foursome
148:Standard
137:caller's
125:article.
812:Notes:
650:Notes:
569:the 1s
563:seconds
531:=gent,
527:=lady,
515:Tempest
439:Tempest
385:triples
351:triplet
320:=gent,
316:=lady,
267:caller
196:actives
83:scholar
924:
577:(also
442:above.
304:Becket
284:Proper
264:Becket
243:across
239:proper
227:Becket
219:proper
166:bottom
85:
78:
71:
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56:
633:right
422:major
247:sides
212:below
208:above
90:JSTOR
76:books
922:ISBN
805:and
797:and
789:and
629:left
581:and
571:down
202:(or
170:foot
162:head
62:news
687:in
674:out
409:or
369:In
252:In
237:In
194:or
168:or
160:or
158:top
154:set
45:by
944::
893:^
868:.
660:A
647:.
575:up
365:.
357:,
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349:,
200:2s
930:.
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529:G
525:L
326:2
322:1
318:G
314:L
112:)
106:(
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97:(
87:·
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39:.
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