What Is Contra Dancing?

Last year about this time, I posted about why I love contra dancing so much. This year I cast about for inspiration, and found some wonderful definitions pulled together by Gary Shapiro and hosted on the the website of the Santa Barbara Country Dance Society. They had me chuckling and nodding by turns. Check out what he has to say (with a few edits from me), then come join us on October 7 and see what's got folks grinning so much our cheeks start to hurt. 

Contra dancing is fun beyond words. Contra dance is Real People in Real Time with Real Music. It is Real Life. You cannot experience this while sitting on your duff. 

Definition 0: the only real one

Contra dancing is social interaction, meeting people, and making new friends, set to music.

The rest is just details.

Otherwise, the only real answer to the question "What is contra dance?" comes when you try it. If you can't make it to the Cityfolk Contra Dances, check out Charlie Seelig's Contra Dance Links to find a dance in your neighborhood. So find a dance, close this window before reading any more, go to the dance, then come back here and see how the event compares to the description below.

Oops, you're still reading!

There's a danger in that. You are probably already feeling a little afraid to try something new. Below you will likely find some little tiny detail that will give you an excuse to not try contra dancing. And thereby deprive yourself of something that could give you decades of a joyful activity.

Definition 1: an earnest attempt

A caller, usually working with a group of live musicians, guides new and experienced dancers alike through a variety of dances.

A dancer and his or her partner dance a series of figures, or moves, with each other and with another couple for a short time. They then repeat the same figures with another couple, and so on. The figures are similar to those of old-time square dancing. The figures are combined in different ways for each different dance.

The caller teaches each dance before it is actually done to the music. This gives everyone an idea of what to expect so the movements can be easily executed. The caller leads the dances while they are being done to music, so dancers are able to perform each movement to the music. Once the dancers appear to have mastered a particular dance, the caller may stop calling, leaving the dancers to enjoy the movement with music alone.

People of all ages and lifestyles, including children, are welcome. Contra dances are a place where people from many walks of life come together to dance and socialize. Dancers often go out to a restaurant after the dance, have a potluck before or during the dance, or hang out with musicians in jam sessions and song circles. Children as young as seven can participate in adult dancing; your mileage may vary. As long as parents are responsible for keeping non-dancing children out of harm's way, everyone will enjoy everyone else's presence.

First-time dancers will likely find experienced dancers extremely friendly and helpful. If this does not seem to be the case, talk to the dance organizers. They need to know!

Most contra dance events will include a few dances of other kinds: traditional squares, waltz, swing and other types of couple dance.

At most dance events in North America, we dance with a different partner for each dance, although dates who attend together and significant others might dance with each other more than once.

This is [insert current year here]. Women can ask men to dance. At a contra dance this is certainly true and has been for some time. It might be just as common as men asking women, or more so. Women will sometimes dance with women, and men will sometimes dance with men. In general, especially for the men, this happens only when a gender imbalance exists in the hall (men tend to be real chicken about dancing with other men otherwise). The above notwithstanding, it is a good idea at some point to dance the opposite role. It's a real eye-opener! Be warned, however, that you'll need extra alertness and concentration.

Contra dancers make eye contact whenever possible. This adds to the connectedness of the dance, and helps reduce dizziness, especially during the swing. It is also uncomfortable for some. Don't let anyone tell you that you must make eye contact, but give it a try even if it's a little uncomfortable. Expand your comfort zone. You might get used to it and even like it. Remember: they're gazing into your eyes not because they love you but because they want to make the connection, and they don't want to throw up on you.

Definition 2: what contra dance is not

Contra dancing is not the same as country line dancing.

Contra dance groups receive absolutely no funding from Oliver North.

No classes are required, or even offered (in general), except for a non-required half-hour or fifteen minute introduction to contra dance before the dance, at many regular dance events.

We do not wear costumes (except on Halloween) or any particular style of clothes. Some groups ask that you bring a separate pair of soft-soled (non-scuffing) shoes to protect the dance floor. Tennis shoes are quite adequate for the first-time dancer.

Very little footwork is required in contra dance. The most common type of movement is a smooth walking step.

Definition 3: whimsical

Contra dance is a form of dance that thrusts a different person of the opposite sex into your arms every 30 seconds or so.

Actually, this is only true sometimes. It might be more prudent, but less whimsical, to say that contra dance is one of the few dance forms where by the end of the evening you are likely to have danced with everyone.

Definition 4: an analogy

"A contra dance is like an amusement park ride we make for ourselves." --Unknown

If I didn't convince you last year, I'm sure Gary has convinced you by now. No? What about all the smiling faces on this video, and the other contra dancing videos on our YouTube Channel?

Seriously, this is one of the most things I've ever done. Contra dancers are a bunch of fun-loving, friendly and energetic folk. It's inexpensive too, so what are you waiting for? Join us next Friday!

Spotlight on bohola

The 2011-12 Celtic Series kicks off on Saturday, October 22, when Irish-American band bohola takes the stage with dancers from the Richens/Timm Academy of Irish Dance. Two of the greatest Irish musicians of our time join forces in bohola: piano accordion virtuoso Jimmy Keane—a five-time winner of the All-Ireland title and recently named Male Musician of the Decade by Irish American News—and singer Pat Broaders, a master of the bouzar (an 8-stringed, guitar shaped-bouzouki), uilleann pipes and whistles. Last here with Liz Carroll a few years back, the exciting duo has been hailed as “two master musicians in their day and in their prime…Chicago’s hometown world champions” (Irish American News). 

These clips give you a good idea of why this pair is so highly lauded: Keane's fingers fly over the keyboard during the first set of tunes, and Broader's rich voice puts so much emotion into the work/immigration song "Paddy on the I&M Canal". Stivers' Centennial Hall is an intimate venue well-suited for this performance. Join us!

Throat Singing is Worth the Wait

Last February, Huun-Huur-Tu's return to Dayton was cancelled by lousy weather. Thankfully, we were able to reschedule for Tuesday, October 4.

If you were also in the audience when this quartet was here a couple of years ago, you understand why I'm looking forward to the show with such anticipation. Tuvan throat singing—producing two notes simultaneously—is nothing short of amazing. And the internationally acclaimed ensemble known as Huun-Huur-Tu have emerged as the leading ambassadors of Tuvan culture and song.

The idea behind Huun-Huur-Tu came from an unlikely place—the annual Rose Bowl Parade in Pasadena, California. Kaigal-ool Khovalyg, a young man already known as one of Tuva’s most accomplished throat-singers, and two other Tuvan singing horsemen had been invited to ride in the 1992 Rose Parade. As a result of the trip, the three Tuvans decided to form a band and try to preserve traditional Tuvan music and culture in the face of modernization and a half-century of Soviet suppression.

The Republic of Tuva, a member of the Russian Federation, is located in the exact geographic center of Asia, nestled in the mountains of southern Siberia. Tucked between Russia and Mongolia, Tuva was already a thriving society when Genghis Khan conquered it in 1207. Mongol and later Chinese forces ruled Tuva for centuries before it was made a Russian protectorate in 1914. Tuva was part of the Soviet Union between 1944 and 1991.

Intrigued? You can check out videos of the group here, but the best way to feel the impact of the nuances these talented musicians achieve is to be in the audience and hear them live. You'll thank yourself!

Spotlight on the Richens/Timm Academy of Irish Dance

A handful of dancers from the Richens/Timm Academy of Irish dance will be joining bohola on stage to (literally) kick off this year's Celtic Series on Saturday, October 22 at the new Centennial Hall at Stivers School for the Arts.

The Richens/Timm Academy is one of the most recognizable and respected names in the world of Irish dance.  It is the most established and accomplished school in both central Ohio and central Indiana.  The Academy’s rich history began over 35 years ago when Ann Richens, a native of Dublin, Ireland, began traveling to Columbus from Dayton, Ohio to share her passion for Irish dance. After her prized pupil, John Timm, captured the 1993 Senior Men’s World Championship title, they partnered and the school became the Richens/Timm Academy.  In 1994, John continued the tradition of the traveling dance master while expanding the Academy’s reach into Indiana.

Sadly, Richens passed away in early September 2011 after a battle with cancer. Cityfolk founder Phyllis Brzozowska remembered her in this recent blog post. We will honor her memory with a tribute during the concert.

African Rhythms: Randy Weston's Story

In 25 years of working at Cityfolk, few experiences have provided me more pleasure than presenting pianist/ composer Randy Weston. He has performed at the Dayton Art Institute Renaissance Auditorium three times: as part of our inaugural Jazz Tradition series in 1986, again in the mid 1990s and once more under the auspices of the National Endowment for the Arts Jazz Masters program 4 years ago.

His new autobiography, a collaboration with writer/producer and jazz advocate Willard Jenkins, is about as close to real proximity as you can get and it rarely gets better than being in the presence of Randy Weston. He savors everything in his path; food, art, people, LIFE, and it all comes pouring off the pages of the book African Rhythms: The Autobiography of Randy Weston. His beginnings in New York, experiences with mentors such as Thelonious Monk, his continuing exploration of the music of Africa--he was pioneering the frontier that came to be known as "world music" long before it became a handle, or later, an industry--and a constellation of collaborators are all packed into the book in rich detail.  

And while Weston brings the stories of longtime musical partners such as composer/arranger Melba Liston out of the shadows, the book lets other musicians from bassist Ron Carter to pillars of his recent bands like T.K. Blue and Alex Blake provide their own perspectives on his generous spirit. Still going strong in his 80s, he has been an inspiration to listeners and his fellow musicians for the better part of six decades. Weston and Jenkins have created a delightfully unusual autobiography. African Rhythms lets this musical giant take you into one of the richest lives you are likely to encounter anywhere.

Spotlight on Huun-Huur-Tu

Back in February, lousy weather caused us to cancel the much-anticipated return of the amazing Tuvan throat singers of Huun Huur Tu. Happily, we were able to reschedule at a time when the weather is much less likely to be an issue: Tuesday, October 4. They will be in the intimate Boll Theatre on the University of Dayton campus.

Tuvan throat singing is truly one of the most amazing things I've ever heard. The range of sounds they're able to make with their voices is mind-boggling. The last time they were in Dayton, they told the Standing Room Only crowd that the music originated from Tuvan reindeer herders who used it to give each other directions. They sang the landscape to each other! Fascinating. But enough superlatives from me. Here are some YouTube videos that will show you what I mean better than my words can.

Remembering Irish Dance Teacher Ann Richens

by Cityfolk Founder Phyllis Brzozowska

I was shocked and broken hearted receiving the news this week that Ann Richens had died. I can’t begin and actually don’t want to imagine the world without her.

One of my fondest memories of Ann Richens is seeing her dance with John Timm on the stage of the Victoria Theatre. It was during one of the Rhythm in Shoes concerts that Cityfolk produced in the early nineties. She danced with such joy, grace, precision and the embodied beauty of the Master dancer and teacher she was. It was a rare treat to see her on the big stage. Her role as teacher usually had her standing in the wings or coaching from the sidelines or judging at a competition.

I was still in high school when I first met Ann. My cousins, Mary and Bridget Palmer, took Irish dance lessons from her. I went to a number of feis (Irish dance competitions) to see Bridget and Mary compete and you couldn’t help but to get to know Ann. She knew everyone. She had an open and welcoming way, a pixie-impish beaming smile, an energy that seemed inexhaustible and an organizer’s skill that you couldn’t say no to.

In 1978, before Cityfolk was formed, I was doing a Celtic music radio show on WYSO-FM and a band I knew from Pittsburgh called “Devilish Merry” was coming through town. They were a great dance band that played ole’ timey music and Irish traditional music and I thought, “they could probably do a great ceili.” So, I called up Ann and suggested the idea. Ann was all for it. Ann and I together organized what I think was the first ceili with live music in Dayton at the Dayton Leiderkrantz Club on E. Fifth Street. We had a blast!

In the very beginning years of Cityfolk, (the early eighties) a lot of the Irish music we presented was in bars, Gilly’s and Canal Street Tavern, even the long defunct Sam’s. When we wanted to make the leap to go into a concert hall, I asked Ann and group of other local Irish and Scottish cultural supporters to act as “guarantors.” Ann led the way and was the first to step up to the plate with backing money which allowed us to take the concert into the auditorium at the Dayton Art Institute. Ann and all the guarantors got their money back and the Cityfolk Celtic Series was off and running. In just a few years, it moved into the Victoria Theatre with our very first presentation of the Chieftains and of course, Ann was in the audience along with many, many of her dance students and their families.

Ann’s dancers have graced the stages of Cityfolk concerts and the Festival more times than I can remember.

John Timm performs with
Cherish the Ladies at the
2005 Cityfolk Festival.
Photo by Andy Snow.

I actually took some Irish dance classes, myself, with Ann for a few years. I remember loving it. Ann was an extraordinary teacher. It was inevitable that the world champion John Timm would come from her school, along with numerous others after him qualifying and ranking as top Irish dancers in the world. She had the ability to perceive each person’s ability, communicate and demonstrate exactly what they needed to take them to the next level and to keep growing to higher and higher levels of excellence. Dedicated and hard working sound wimpy when used to describe the fierce focus she brought to her life’s passion.

I take some comfort in knowing that her incredible skills have been passed to the next generation of teachers. Still, the world has lost a most exquisite gem, a glorious emerald of an artist, cultural treasure and brilliant human being.

I only got to glimpse a small portion of Ann’s rich and full life but it seems to me, to paraphase Rumi, “the beauty she loved was what she did.” I know the gifts I received from knowing and working with Ann will always stay with me. And, I’m eternally grateful her support and the collaborations that lead to the formation and growth of my passion-- Cityfolk. She was a partner at every major turn and Dave Barber tells me she was involved in projects that have yet to happen.

May the grace and beauty Ann cultivated and nourished continue to shine in the countless lives she touched and may that light surround and carry her as she “sevens and threes” now with God.