The memoir class - Erik Barry Erhardt, PhD

c○ 2010 Richard Wilson and Erik Barry ErhardtAll rights reservedFolkMADS, Albuquerque, NM.Printed in Albuquerque, NM.StatAcumen.com/dance01 10 09 08 07 06 05 04 03 02First edition: 31 December 2010ColophonThis manual was typeset using the LaTeXtypesetting system created by Leslie Lamportand the memoir class. The body text is set 12pton a 33pc measure with Palatino designed byHermann Zapf, which includes italics andsmall caps. Other fonts include Sans, Slantedand Typewriter from Donald Knuth’sComputer Modern family.

Maybe it would be fun to define a word here, like “dance”. This is anexample of how that might look.memoir, n. a written record set down as material for a historyor biography: a biographical sketch: a record of some study investigatedby the writer: (in pl.) the transactions of a society. [Fr.mémoire — L. memoria, memory — memor, mindful.]Chambers Twentieth Century Dictionary, New Edition, 1972.memoir, n. a fiction designed to flatter the subject and to impressthe reader.With apologies to Ambrose Bierce

Short contentsShort contents · vContents·viForeword · ixPreface · xiIntroduction to the first edition·xiii1 Four Potatoes · 12 A hand extended·33 Set lists·274 A hand taken·335 Dances · 43Notes · 133Glossary · 135Bibliography·141Index · 143Cards · 145v

ContentsShort contentsContentsForewordPrefaceIntroduction to the first editionAcknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . .vviixxixiiixiii1 Four Potatoes 12 A hand extended 32.1 A beginning . . . . . . . . . . . . . . . . . . . . . . . . . . 32.2 Richard Wilson Notebook . . . . . . . . . . . . . . . . . . 32.3 May Day 2002, MC . . . . . . . . . . . . . . . . . . . . . . 233 Set lists 273.1 A list for calling a community dance (wedding, etc.) . . . 273.2 A list for calling to a contra dance with lots of beginners. 293.3 English country dance . . . . . . . . . . . . . . . . . . . . 29ECD warm-up 29, Fingertip waltz 303.4 A list for a more experienced crowd. . . . . . . . . . . . . 303.5 Ornamints for between sections . . . . . . . . . . . . . . . 324 A hand taken 334.1 Merri Rudd, caller . . . . . . . . . . . . . . . . . . . . . . . 334.2 Donna Bauer, caller, organizer . . . . . . . . . . . . . . . . 39vi

CONTENTSvii4.3 Steve O’Neill of the Cottonwood String Band . . . . . . . 404.4 Noralyn Parsons, caller . . . . . . . . . . . . . . . . . . . . 415 Dances 43Arch blessing 44, Archs between . 46, Balance and change . 48,Back step balance . 50, Chain the ladies over 52,Change in plans * 54, Crossover Anew * 58, Curtesy promenade . 60,Deja vu and the next * 62, Double good progression . 64,Fall back 4 66, Fingertip Waltz * 68, Follow up . 70,Garden gate 72, Gasping reel * 74, Gents repent * 76,Jolly threesome (mixer) . 78, Ladies lead, gents follow 80,Lasso the ladies 82, Let’s roll over and do it again . 84,Mathis mayhem * 88, Morris Cross 90, New lite upgrade 94,Planetary motion . 96, Quite contrary * 98, Repent and revival (turn of the century) . 101,Right-hand Gypsy 104, Roll, weave, and gypsy . 106,Round and catch and swing . 108, Salvation / 8 on the side * 110,Star over thar . 112, Stellers 114, Step back in time * 116,Tails end * 118, The other way round 120, Time between * 122,Tuck and roll 124, Veer on * 126, Waynesboro 128,With hay * 130Notes 133Glossary 135Bibliography 141Index 143Cards 145

ForewordMaybe here Erik’s motivation for this book project.ERIK BARRY ERHARDTAlbuquerque, NMDecember 2010ix

PrefaceHere Richard’s thoughts on this book. . .RICHARD WILSONGlorieta, NMDecember 2010xi

Introduction to the first editionThis book of dances, etc . . .ACKNOWLEDGEMENTSMany people have contributed to this book in the forms of type setting,gathering stories and photographs from people, and last but not least insimply being encouraging. I am very grateful to the following for all theyhave done, whether they knew it or not: Lauren Lamont for written transcriptions,Katherine Bueler for dance transcriptions, Susan Sawyer for MayDay transcription, Karina Wilson for matching tunes to dances, KarolynWilson for support, . . . and XXX .If I have inadvertently left anyone off the list I apologise, and please letme know so that I can correct the omission.xiii

OneFour PotatoesHere we can discuss Richard’s introduction to dancing, his impact on thecommunity, and his lasting legacy.JoyDoes not dancing seem to be the art of joy,the joy of moving, the joy of being moved,the joy of holding hands, the joy of full embrace,the joy of turning around, the joy of being centered,the joy of not being alone, the joy of all the others,the joy to express, the joy of being part of a whole,And out of this nurturing and practiceLove does arise, passionate, uplifting, sensuous and true,emanating as fully as possible,engulfing partners and you, sets and the whole.Is this not how we practice our artthis art of love of danceExtending toward and sharing with each and everyoneComplete — present — responsive — playfulspilling over onto all who see or feel itand when the music ends we returnto ourselves, our lives and our worldsin a happier statefor having pursued its embodiment.1

TwoA hand extended(Richard’s stories)Section for Richard to write about dancing, calling, etc.Can make reference to particular dances written for specific occasions.2.1 A BEGINNING2.2 RICHARD WILSON NOTEBOOK(p.17)Gasp Reel Doubletake – A well used dance that seems to work wellwith all types of standard tunes and all levels of dance experience. Anothertransparent boundary crossing using an alternating head couple rather thanthe one only.A1 1’s lead down between 2’s/ separate return back around to placeand do-si-do in the center A2 Neighbor balance and swing B1 Long linesforward and back circle left once round B2 2’s balance and swing in thecenter end facing up to next coupleDance is repeated with 2’s leading up between, separate back to placeand do-si-do, at then end in B2 the 1’s swing in center and face down tobegin again.*when there is a couple at the top the 1’s swing, when no couple out attop the 2’s swing(p.18)Follow-up – proper- longwaysThis is an English Country style dance, fitting well with hornpipe music,any tempo. With slower tempo you would use the hornpipe step. A doublestep to each side and 4 single steps, each step having the characteristic lift,or hop or heel tap at the end. At the faster tempos the hornpipe is dancedContinueeditingandplacingtext,stillmuchto dowiththiscontent3

4 CHAPTER 2. A HAND EXTENDEDwith a small bounce on the end of each step lead (???) to the next step. (alingering lilt (???) with a definite duple on the sides)In the turning figure by the diagonals during A1, I would use a reverseallemande (behind the back swing) or voyager swing – a hand turn withfree hand supporting partners elbow - or a reverse shoulder swing - a handturn, reverse direction and place free hand on partners upper arm of shoulder.(p.19)Gypsy Chain 4 in line facing down with partner 1’s on left, 2’s on rightThe ladies weaving across and on the next so closely follows the track ofa ladies chain, but without hands, that the name quickly followed. Whenthe gents take an active role in the gypsy part the dance has never failed toadd its sweet charm to the evening.Some tunes lend themselves to down the hall to start, a forward pushthat sets the dance moving.(p.20)Jolly Threesome 3 facing 3 around a circle 3 gents 3 ladiesThis is my remake of an old classic Sakett’s Harbour with an unusualformation of 3 ladies face 3 gents. It works as a circle but not as a line. Allthe ladies would end up at the bottom and all gents would en up at the top.It is an efficient teaching method of the contra corners.The ending circling 1 1/2 around swinging couple and fall back intoown group and then forward and acknowledge other 3-some, turn and payrespects forward and back to new group. Has never really smoothed outbut it does add a little bit to be worked out by dancers.I like to end this dance in a community way by having the – ??? make abasket of 6, make a large basket of all.(p.21)8 on the SideHere is a use of the walk-around back again. The gents gyp by the left inthe center and head back to their place and gypsy and swing their partner.The more lingering kind.The circle left 3/4 into a short hey type figure along the lines adds anelegant return to your neighbor to balance and swing. Written for a slowmarch type tune that has a trance-like feel.(p.22)The Other Way Round Beckett ("top couple cross over, circle 1/4 Right)then 1" progressions down the setIf top couple circle 1/4 left then progression for 1’s is up the set.

2.2. RICHARD WILSON NOTEBOOK 5A beckett with a reverse type progression. I generally used this danceas variety, because it seemed different and it worked well.Circle left with one couple and then on the next with a left hand staris not a common progression. The ladies lead into the transition so if theyprepare on last 2 beats of the circle then the transition is very smooth. If theydo not and overshoot that opening they can pirouette and change directionsand make it look just as smooth.(p.23)Hierarchy in the Duple RhythmThe duple Rhythm starts with 2, one for each foot is true.Each one becomes two and each two become one.«

6 CHAPTER 2. A HAND EXTENDEDYou ask me what can my dances be like, they’re easy and they’re smooths—??? down across and b–??? up the other side elegant for r–??? or grooveYou ask me what good my dances might spread and feel a good headand shoulders in a characters charm to cast about us natural appeal ??? andfall into anothers armsYou ask me what all my dances can do to figure in the music, a core anda shared one too.What then go forth into the find fit into the whole between body andyour mind and dance with your heart in the Presence of your fellow KindTraditional practice of social graces we do well to give weight and take thetime.(p.25)I am just a hay seed dancer with an enthusiasm for everything in between.I became very rooted in English and American Country Dances by raisinga family of 5 daughters with my wife and companion Karolyn. Wemet and bonded with Mary Judson (a wonderful country community danceleader raised in the Pinewood environment of CSDSJ), danced with her for(???) years.I have a kind of Embodyment (???) Style of learning so when an opportunityarose that re(???) a community effort and I was able to make useof Mary’s teachings on nurturing a community spirit through traditionalmusic and dance I was able to help the forming and establishing the NMFOLKMADS as a community projeft rather than — (???) approach. I wasshortly called away for many years and upon my return it was already a(healthy) fledgling and off into world of its own, warm, friendly, flowering,many good things of which I still feel today.(p.26.)Mattie’s Mayhem: processional lines of 4 around the room gents in center,ladies at endsThis dance is done with same gender partners 2 gents 2 ladiesThere is some leeway for alternative figures in the diagonal and cornerexchanges in the B partsIf you begin to use mix gender swing turns in the center, gender rolesgo beyond swapping and real mayhem does occur. You could always endwith and "up to the band".This dance was wrote for an October Camp in 2009 when several ofthe young women of our community had gone off for the summer sharingtheir travel treasures with us of music, song, and dance (and returned for

2.2. RICHARD WILSON NOTEBOOK 7this camp). (Mattie Mullaney from a family p–(???) in our music and dancecommunity).Here is a poem I wrote debriefing the w–(???).There were some injuries though I was the only one who fell over theedge of smile (???) over the bucket and into the wellIt was a good weekend mirroring ourselves on others a root settling intoautumn offered hands held in gratitude a touching warmth to start (???) thewinter found a place in our circle of social pleasures all aroundBut winter has no hold on youth though we beat its gates they are flowersof our community blooming all the more beautiful filling our hearts tono endand the moment more than worth the wait.(p.27)Planetary Motiona stone grinding folk process on a recent move called the rickoshay, analternative or substitute more during a hey. A circular, on track, push off,that can be called for gents, ladies, all or none. Becomes a sort of miniworkshop on hey.(p.28)Medley to (???)Curtesy promenade #16Box to a star– This is a dance medley for the October weekend in ’09.The box to a star is a transformational as well as a transitional figure.(p.29)DeJaVuWhat would be a set of dancers be without a star promenade, but onestar short. This one does have a slight fluctuating moment for the ladies asthey move on to the next. Gents you could be there for them. dejavu(p.30)RitualI have always loved the ritual aspect or root of Country Dances. Underthe leadership of Gene Murrow I was able to experience a traditional teachingof Morris Dancing on the Sunset Morris Team. Along with Mary Judsonprolific knowledge of handkerchief, staff (???), long sword, and wrappersword it was an immersion into mans traditional relationship to nature andthe world around him. That has barely changed. The world was a mysterythen to them, as it is not to us. Alignment, to nature communications andcommon sense, tokens to enter the labyrinth and spirals of our ancestralheredity, rudiments and modes of our movement, carriage (???) posture

8 CHAPTER 2. A HAND EXTENDEDand graces of our civilizing. It adds a spice or taste of meaningfulness tothings. Sparking –(???) that life has meaning, or at least meaningful moments.Celebrating the joy of being alive.(p.31)Dancing in the Roots The roots of our contra Dancing today (???) severaland varied.There is a ritual root, seasonal enhancements connecting to the naturalcycles and rhythms of nature.Celebrational –(???) community couples and celebrating the bond betweenpartners, marriage, wedding, acknowledgement and honors, commitmentand devotions, exchange and and danvows.Celebrating the potential in our hands in point of contact and sharing inthe good wish of others in place of heart.(p.32)Over time we become overlayed in patterns. It happens naturally asyou do something repeatedly the things that work for you save and whatdoesn’t is discarded. A refinement technique that leaves you with your wayof doing it.Leading a community Dance or something gathered into name (???) traditionallydone with live music. It can be a daunting task especially for acaller who when he announces that the dance is beginning expects everyoneto get up find a partner and lines up on the floor. Many gatherings,weddings, camps, retreats, and reunions, celebrations, festivals, play partyor impromptu situations are mad up of family, friends, elderly, young, challengedand the unknowing.In these circumstances a truly non-gender dancing and calling stylework. If not non-partner dancing. This does not mean you do not dancewith a partner of someone else but rather that you need not have a partnernor a gender to participate and dance.Leading a serpent or snake is the easiest way to gather people up todance. It gets things going right away. You start the music join handswith someone and begin to lead the line around. (circumnavigate leaveand return (???)) Take time to gather everyone or at least give them severalchances to join anywhere in the line. After you have decided you haveeveryone in who wants to be in, you begin.There are figures you can do with a snake but a few general guidelinesmay be useful.Watch your tail, paying attention to the end of the line helps you timeyour moves and manage the overall snake. Scope our your space – the

2.2. RICHARD WILSON NOTEBOOK 9space is big determining factor on how it can be done. Leading the groupinto a circle around the dance floor and the leading a spiral is the classicmove. Visualizing (the figure) a spiral you circle slowly moving toward thecenter, leave a good space between the concentric circles so you can returnback out. When you reach the center you turn back and go the other wayout. When out you continue into a large circle. There are variations in thetightening and the getting out, also in re-entering and reversing the spiralwhere you return to the center and lead the spiral moves around you asstand in the center.Another figure with the snake is back and forth. Back and forth acrossthe hall and moving the lines (formed up ???) towards the band.The tunnel arch is another easy figure done from the snake. The leaderand the next person following stop and make an arch. As others come thruthey pair up and make an arch, stand shoulder to shoulder, hip to hip. Sincethe tunnel figure doesn’t turn very well it is best to keep it in a straight line.Always part of a wedding march (in New Mexico), a band pass is alwaysgood. Make sure facing their right way when you pass bye, this requiresyou make out who (???).Besides separating into small groups of snakes each with its own leaderthats about it for the — (???) or snake. In smaller groups I would encouragethe thread of the needle figure, ducking under an arch in the line, but I dono do that figure with the larger group because it ties things up rather thanlet them flow.At a wedding I would take the Bride and Groom and gather everyoneup in a snake – lead into a spiral, leave the wedding couple in the centerand then lead the rest of the spiral back out, leaving the wedding couple inthe center.INTO the circle is the most common way to get out of a spiral. We havereached a pivotal point to either stop or transform into a new keeping circleformation and keep going because you have everyone up and on the move.The circle means so much in the community of man it brings the many intoone, it encompasses the group under and organizational overlay in and outand with others around.People love their groups and are proud to say – East & West, grandparents,single, kids, co-workers, ladies and gents, banjo players So bringthem out into the center "All the grandmothers into the center and out",you could lead them in a small figure, a basket, thread the needle, or facethe center, cross hands, join hands with the next, lift and open, and turnaround out to the circle, hands down in a bow and we have a symbolic

10 CHAPTER 2. A HAND EXTENDEDflower blooming from the center of the circle. You could also just let themgo into the center, dance around, encourage noise and back out again.This is very effective at a wedding with the Bride and Groom in thecenter helping to integrate the two families together. Again one could stophere or continue on. To partner people up in a circle may be as easy as"Partner Up" "Anyone without a partner step to the center". Any pair upcould be used and a partner is the other person in your pair. Otherwisetransforming a circle into long lines may prove to be a good thing to use.As you are circling around in the long snake and you reach the far end of thehall you turn and lead the line up the centerline generally to the band. Asyou reach the top you direct a "one person one way" "one person the other",a separation of the snake into two lines that move to the side then down thehall to the bottom turn towards each other and meet in the middle, turn andgo up to the centerline 2x2 into 2 lines. This formation has the variety andpotential to accommodate any crowd. Though the separation into two linescould be done as ladies to the right and gents to the left. There is no needor call for most situations, but on those occasions where it would facilitatethe dancing you could accommodate any uneven gender balance, thoughone line would be shorter than the other. For whom ever is at the top withyou when your turn comes is your partner. The dance is called Down theCenter and up the outsides. The action is danced down the center of thetwo lines while those on the outside are moving up toward the top for theirturn to go down.I like to start with the circle 3, the top two persons in one line and the onetop person in the other line form a circle of three and turn it while movingdown the center to the bottom. I generally demo the dynamics of moving acircle of 3, then let them work out most of the rest, encouraging they comeall the way to the top before starting – keep the flow, –(???) helping managethe coupling at the top and they get going around and down.This has never failed to be fun. After a while I let the last three goddown then returning to the two lines I begin a series of gallops down thecenter. Top couple facing take 2 hands and gallop together sideways downbetween the two lines to the bottom. I stress togetherness, as well as clappingand encouragement along the sides.After a while I let the last 2 gallopers get to the bottom.and demo– a back facing gallop. Top couple meet partner, take twohands– let go of one, turn back to back and rejoin hands and you’re readyto go - gallop with your arms outstretched. I encourage leaning up againsteach other staying close together– after a while I may demo the top couple

2.2. RICHARD WILSON NOTEBOOK 11into a dignified processional or promenade down the center to the bottomwhere they could turn arch and begin up the set with an arch to begin atunneling.Other down the center things exit – elbow turns, cross hand turn, tribaland outrageous (???), but I generally end with the dignified promenade.Getting out of a figure is as important as getting into one.To get out of the tunnel the head couple when it reaches the bottomwould promenade up the set without an arch returning everyone into thetwo lines.Another place to stop or go or to easily move into the grand march becauseyou have 2 lines up the center of the hall to start one one way one theother shown the — (???) and meet at the bottom one two one way one twothe other (stay with your partner, meet in 4’s, meet in 8’s) one 4 one wayone 4 the other and up to the bandhere is another place to choose to stop or go on and I choose to stop.Should you choose to follow this program please let the band know, Ihave gone for over an hour to complete. Medley tunes help but leadersconsiderate (???) is probably better in working with a band on this one.Fake it till you make it is the best advice I could give here. That and makeuse of a growing number of simple tried and true community dances froman excellent collection — (???) at present.I use them freely and also make use of several of our New Mexican folkdances.After about a 100 people these type of community dances become unweildingand one turn last several times thru the tune.(p.33)Using a prop a broom is a wonderful prop very symbolic for a wedding1.) could be held low as the threshold for the Married couple to cross –could be passed around to be touched by all and returned to the weddingcouple who could raise it up as the – (???) over their door and invite allthere to pass under by carrying the arched broom over the circle.Another good use is to pass the broom around the circle and the persondances with the broom, then passes it to the next or facilitate by you – takethe broom and hand it to someone. That’s how you can manage the dance.(p.34)A duple rhythm arises if one puts a pulse between ones feet. Up downup down the up happening between one steps on each side.A triple rhythm arises if one put a pulse on each side and a gracenoteappears for help, move you from side to side, sounds like our heart. It

12 CHAPTER 2. A HAND EXTENDEDreturns to a duple rhythm when subdivide 2 on a side. step (L) toe (R) step(L), 1 and 2 The "and" a push off the opposite toe halfway between stepslanding on the same foot. R &R traditionally known as a catch-step, stepball change, triplet, the side ready to alternate the same mirror image onthe other side. R&R, L&L, this is the basis for the polka step, 2 on a side andleaping onto the new step or other side.A single step would be defined as a step lif (???). The lif is a silent participantin each step already, we access it through awareness in the embodimentstyle of learning.Each step has a landing part (heel and a lifting part (toe)).The landing is articulated by "landing" – making it’s own sound anddone on the down beat, connecting to the earth. (This is how we get instep to the music) The lifting part can be accentuated by a heel tap or by apushing off to the other foot (—(???) the opposite while the free foot (nottouching the earth) happens lifts) on what would be considered an upbeat.one down beat one off beat per stepA double step would be "2 steps" on a side. Step together, step lift, is thetraditional mantra.The shottishe and the hornpipe set originate from here. 2 double and 4single steps, and a lingering lift on the off beats. The waltz is a good tripleto explore, and the jig is a wonderful integration of the two, an uppity pairof 3’s and a swing.(p.35)I believe we are something of a sensation.Yes we focus on our 5 senses, but there seems to be so much more. Senseof balance, sense of dignity and respect, sense of good and evil, sense ofwhat’s happening, and on and on. If you focus on any of these senses thingswould happen and the sense of it would develop. A sense of balance canbe developed by standing on one foot and alternating to the other foot– in agesture on up/one down , the vertical, on the horizontal, on the diagonals,in a pattern focus on the on up. Try it on.A sense of dignity and respect is found in (in the carriage of) the heartarea carried by a good head and shoulders. Uplifted, alert and reaching outto all, a foundation of the English Country dance style.It is but a small matter of transferring everything to you "points of contact"with a partner, hands and eyes, to become a couple and to develop asense of each other.(p.36)

2.2. RICHARD WILSON NOTEBOOK 13I have taken a sort of personal journey the last 5 years. One of my questionsat the beginning was as the warriors were walking home after the battledefending the village, did they play special tunes to help them processtheir battles, scars, wounds, broken bones, bruises, and memories. Perhapsby using an integrating type rhythm, side to side, rather than a one-sidedrhythm that continued the push to gather and take them to the battle.I am a Vietnam veteran – anyone who has actually been in a battle normallydoes not come out unscathed. In fact, if you’re anywhere near youare generally scarred for life.My good fortune has it that I never had to knowingly take someone’slife, nor that I ever felt mine was being taken. Even though I was a decoratedsoldier in the infantry. The 1st cavalry 5/7, General Custers hard luckgroup (???).Along with my traditional dance tidbit of "Let your body embody therhythms" I took the idea of starting with my heart and worked myself outtill now I truly feel like a big heart.But what I felt I accomplished was a fitting together of 2 trad— (???).The traditional music and dance rhythms and drum rudiment tradition ofthe military passed on from onto the next thru ancient times.Both are founded in our natural being when we were compelled to standand begin to walk. Marching and dancing are mirrored oppositions ofwalking, bot compel groups to become one and perform all to gather atthe same time. Both articulate and accentuate different pathways betweenso the limbs may act independently and both create a hierarchy of timeand space and movement. The differences become a matter of focus andpurpose. The one returning to a fundamental place in our being, a place establishedprior to your own arising, is the wholesomeness and joy of movement/circulations,a potent medicine of wellbeing.The other, the push f— (???) from momentum, the practice to be asa machine (for blood and sacrifice) turning together as one relinquishingyourself to be a part in a bigger movement of cultural purpose. But thereessences in movement combine to give a balanced feeling of your core, adynamic patterning, within and without the voicing of time in the space ofthe moment. From a new baseline and builds accordingly, what good yousay (???). I well I feel my movement a little more freely, I feel my partnera little more freely, I hear the music a little more clearly. Will it last I sayyou, you will see if its worth proves anything shortly, or just a late summerflower before the fall.(p.37)

14 CHAPTER 2. A HAND EXTENDEDYou can improve your ability to hear, be learning to move well, and yourability to move by learning to listen.Music when played for dances one beat for each foot. An uplift for eachstep a push on each phrase becomes a figure of country dance that transformsa group of dancers relating with a partner to a room of spirals andswirls inner connections never there still but that lifted up and taken alongand on again with a smile and thrill a show of respect to partner at an endand hand clap into the void to the presence of the band.(p.39)(historical note)I was never really good at music. I was kicked out of the singing classin my Parochial School. It may have been my ability "not to listen" thatremains today from the nuns of my early exposure. A few folk memoriesremain. One in Algeria, in a small tea house, of several tables and chairs andwindows on the street, giving sunbeams a dusty presence. The tea beingsweet in mint, the radios everywhere blast what’s new. A group of three oldmen passed by and looked in and came in carrying the instruments, drum,wind, and stringed. They played old music, their fingers were callousedgrooves of wear. Their smiles and sparkles is a blessing to man.Not long after that while traveling near a small village a shepherd wasplaying a —(???) wind instrument that echoed from its part in the whole.One more folk incident comes to mind was in Afghanistan in 1971 after a12 hour, 5 prayer stops per day, over the top loaded Psychedelically PaintedBuses, only 50 miles from the Capitol Kabul.It was the sight of the Buddhas carved into the cliffs by a colony ofmonks who live in the buddhas. There was a hillside nearby that wasstill very much inhabited in a thriving-looking valley. We again frequentedthe Tea House and was pleasantly and pleasurably imprinted by that otherworld experience.When in Australia later on that year after hitchhiking down from Darwinon the north tip of Australia to Brisbane, Sydney, and then across thedesert to Perth, I decide to try my hand at an instrument, an American instrument– I bought a banjo, but I left town on the day of my first lesson.I carried that banjo around for 10 years, but never really got very far. IfI learned it wrong, I played it wrong. I even took a trip with that banjoon my bicycle, back in the USA in my later 20’s, from Los Angeles to thegreat lakes into Canada and back across to work in a gold mine in SouthDakota. With a coincidence that my wife’s grandfather was born in thatsame mining town of Lead, near Deadwood, South Dakota.

2.2. RICHARD WILSON NOTEBOOK 15Still pursuing the banjo while recovering from a mining accident in SilverCity, NM in the late ’70’s.I attended a Folk Concert/Dance at the local music shop in Santa Monica,California. A lady asked me to partner up and after a frolicking VirginiaReel she asked if I would like to Contra Dance. A year or so later after a classat the Local Community College I tried it never stop coming (???). Also Itook it upon myself to help the Community College teacher with her Contraclass. I was living with my mother at the time 30 miles away over hills andriding my bicycle to class. Good thing– met my wife Karolyn while being alady in a ladies chain, and then we met Mary Judson, moved and raised 5girls with the dance community of New Mexico, and is such now. Till thenext winds of change.(p.39)I believe that Honey Bees communicate with rhythm buzzing throughouta hive.If a bee is protective, aggressive, or angry, she is just that. Being a colonybeing it is shared with all others as more resonate a larger buzz would occuruntil enough were agitated to effect the hives workings.Seeing the hive as a unit rather than individual bees, one begins to see aworking, maintained parameters of nature and man domesticated relationshipthere is an insistent drive toward the next and new year as a continuumfrom the past. (???)Bees have always been a part of our family. I bought my first yard ofbees with the naivety that you just go out and turn a faucet and honeycomes out. After losing half the hives the first year, I went and workedfor the local Apiarist at Bosque Honey farms, and became comfortable withbees. "Home is where your honey is" was our motto.(p.40)Again it has been my fortune to be given the Glorieta Post Office tomaster and manage. A one person (residential) community living in theMountain Pass at the south end of the Rockies. Tribal, (???) trials, wagontrucks, train highway, and route 66 all thru there, it has served me well andI —(???) I have done the same. I truly believe it is the end of an era inthat arena of community service. It gave me a lot of community servicemirroring an interest a respect and a trust with my patrons and spaces (theold train station) to devote myself to dance the spare moments away.New Mexico has a long hold on me, or so it has always felt when away.I first came in 1968 with my long-time friend Sam Hill who was a NewMexican by family and birth. We hitchhiked around and ended up in "New

16 CHAPTER 2. A HAND EXTENDEDBuffalo" a hippie commune living in teepees above Taos, NM. A high placeof the ’60’s movement, a farm of people trying to live off the land.Building houses and farming land – they had just finished rebuildingthe outhouse to below the kitchen after an outbreak. I got there when theybegan the restoration of the housing issue. Kids burnt the one large roomfor everyone and no barn for the —(???) one wall was still straw and thatcaught fire. The rebuilding project was a joy in nature, being out in northernNew Mexico in a small valley, irrigated by tradition, on the edge ofcivilization and —(???) they chose the Zia symbol design with individualunits making up three sides and a kitchen on side and the center a communalarea to be developed later. I believe I fell in love with an apple tree oneday going to go get freeword (???) and see a Hog Farm Concert in El Rito.Sam returned to New Mexico and I with him again in the late ’70’s, workthe uranium mines in Grants, New Mexico and also the Copper/Lead/Zincmines of Silver City, NM.Later I met Karolyn and we moved back to live in Albuquerque withher grandfather for a while. We left of necessity but had the opportunityto return five years later. Though I was working in Los Angeles and commutingto Albuquerque to be with Karolyn and the 4 kids living in an 800square foot house on the weekends. A short time later I was able to transferto Santa Fe, New Mexico and move to the Glorieta area 2 years thereafter. Ithen was given the position of Postmaster in Glorieta. A jewel in the postalsystem, no employees, and never hear from your boss. 20 years of goodtime behind the bars.(p.41)There is a drive within us seemingly a part of a flame a sparkle on thesun one upon which we bestow our namepotential and a spark began all that was to be the warm waters of theheart a pulse of life tameArise and Move came the command when first we did appear then everydaythat passed us by into the seasons and the yearswhat is one left with when the truth be told only my rhythms, my familyand a warm community feeling in my heart to holdhopefully enough and remains to be seen, but like is not just beforesleep, little like a dream, heading into the deep.(p.42)The community dance is a return to basics. The no partner, no genderdances are really just a few but the versatility they’re encompassing all, thesocial affection, and the embodiment of the basic rhythms of our culture,

2.2. RICHARD WILSON NOTEBOOK 17the foundation of our nature and understanding. And an awakening ofthe presence of the moment, the music passing thru, the dancers riding thewaves and those who cannot are encircled and kept involved. Begin to understandyour rhythms, there are many and unique to you, the movementones are found in balance, on one foot while freely lifting the other andwalking. 2 sides, a top and a bottom, and 2 cross diagonals hand and foot,articulating them with sounds from yourself or with a partner, clapping iswonderful and excellent opportunity to introduce the give and take wayof working with a partner. One presents their hands for the other to clap.Gives a better success rate of doing it together than both trying to movingtargets.Feet offer another natural expression of the basic rhythms. Shuffling upand before each step is a wonderful "pick me up".Learning the catch step or triple step on a side 1 + 2 is a basis for manydance rhythms.Pattern the travel steps to a resting place or balance steps or accentuationin the cadence of the music. Bring the band and music together as manytimes as possible.Encourage respect, open up their appreciation in our gestures and courtesiesof asking, accepting, joining in, meeting exchanging and parting.The one becomes two, mirror between, the two become one, mirroredbetween opposition happening together all at the same time. Mirror imagingas a principle expression in a binary system of movement. Each side,top/bottom/diagonal reflect each other likewise (on another level) eachcouple reflects their partner and the 2 become 1. The one becomes twowith another couple and the 2 become set up again and a part of a whole.The first transformation or mirror imaging principle is regarded of thewhole, the circle is to have 2 circles or (1) going in opposite directions at thesame time. A momentum principle found in basic movement and symbolizedin our figure 8.To do this with the circle the call would be to "face a partner", those whoare able to do so would and those who cannot move to the center find apartner and return to the circle as a leader, either you dance or you are left inthe middle and everyone is engaged. The grand chain is a natural figure touse here. Facing partner give right hands and pull by to move on to the nextperson. It rarely happens as you think it should but it is great for problemsolving on a one to one basis, and a laugh generally always accompaniesa solution to keep things going. You call "take the hand that’s given you".Return to you original partner or not and you easily lead. 2.) The group into

18 CHAPTER 2. A HAND EXTENDEDthe mirror image of a line taking their partner and promenade around theroom in a counter clockwise direction, a Cultural Inheritance of standardpractice. Though it acts as one circle when traveling with a partner in thesame direction the relationship between the 2 partners is expressed as amirror image outside, inside, right hand, left hand, 2 hands joined, 2 half ofan arch and a call and response attitude of accentuating noise gets in stepwith the music.If every other couple turns around to face another couple the foundationof our contra and country dances appear, couple facing couple whetheraround a room or in a line of choreographed dances, traditional, popularand contemporary begin to sprout, and take their roots, thrive, blossom,and sow a spark of meaningful traditional to nature man-kinds past,present, and future. Knowledge is the doing and doing is the tradition andthe tradition a return to some basics at the core of our culture and being.(p.43)The establishing of Folkmads was a pivotal event in my families life. Wewere living in Albuquerque at the time with Karolyn’s grandfather. A gentlemanof his own notoriety. Doc Litchman, Pam McKeever and Mimi Stewartwere callers that helped put on dances, that we attended and supported.Doc Litchman, a pillar, an archive, and holder of the Western Square tradition,Pam McKeever a wonderful spirit and dance leader of whom we aremuch indebted. Mimi Stewart and David Margolin, Mimi has gone on to bea Representative in the State Legislature and David is still leading a — (???)megaband that has continued to thrive to this day from Folkmads’ humblebeginnings. When Pam McKeever decided to move east and try her handycalls out there a vacuum was created in the dance community. No contradance. So myself, fresh from a few good years of immersion into CountryDance by courting Karolyn and following the English Country communitydance leader, Mary Judson around, I step in. I attended a Traditional SouthwestPickers open mic at the local community center. Southwest Pickingwas well established with bluegrass and old timey, quite popular. I playedmy banjo which I still had but had put down after I started to dance. Afterfinishing my tune I made an announcing (???) the formation of a communityband to play for the Contra Dance. Scott Mathis and Linda Asker,members of the international music group were very instrumental in nurturingthe warmth and openness and direction that guided the first years.A community band playing for a dance and all proceeds would go into afund for the purchase of a sound system.The organizational aspect came from Ken Kopler and Jayme McClery of

2.2. RICHARD WILSON NOTEBOOK 19Bayou Seco who already had established a New Mexico Folk Music Groupor Society, collecting folk music lore of Colonial New Mexico. They wereconsidering disbanding the society and held a meeting for such. Scott andLinda were there as well as Karolyn and myself (and the —???). Emily andKarina were still nursing. I proposed a merger (???) to NM Folk Music andDance Society, a bank account and the wish for more and so it was.(p.44)I have always enjoyed a hankering for the regional style. A long distanceranch type celebrational gatherings and seasonal feasts. Where a one timeevent pervades the atmosphere and a "let go" sort of release taking the lidoff the pot rather than putting it on style. It could very well have comefrom my time working with Pam McKeever. She loved to do dances butnot the parties and weddings and enebriated gatherings. So my niche wasmade and I probably enthuse the Santa Fe area dance with it, sometimesbeingat odds with the more traditional and standard style of a captain atthe helm, and act accordingly. Generally I come from underneath, dancemy role and a catalyst for the moment. Articulating individual couple andset. Accentuating beginning and ends, dance empowered by play and nothoughts for history (???) or names, but recall only later what we did withmusic and dance.The Folkmads has long since lost its differences in regional style and hasbecome a warm and friendly community with good music, singing, andcalling; enjoy getting together to include all who are there. It has relaxed itscompetetive nature and maintains a continuum of its making. Perhaps atrest until the next generation picks up the tradition and spark and keeps usalive. To hold true and follow a discipline (???) touching of your being.To open up and release (spreads us out or gathers us in) like the stars ofthe universe, like the dew on the trees, coordinating (a 4 (???)) cross limbedfocus in horizons, periphery, linking up to and there in us kind between thehere and after, virtualizing movements and matters, space and time. (???)(p.45)Courtney Country Blues – 3 Bean SaladA1 - Long lines forward and back Neighbors garden gate into line of 41’s in center A2 - Down hall 4 in line Turn alone (with —???) B - Back toplace Circle left 3/4 Partner Swing(p.46)My studies of late were integrating two ancient traditions, the one beingthe traditional music and dance rhythms, reel, jig, polka, schottish, hornpipeand waltz, and the second tradition that of the Ancient Rudimental

20 CHAPTER 2. A HAND EXTENDEDDrum beats passed down thru military circles, one drummer to the nextuntil written down for — (???) with Civil War 26 Rudiments are — (???)on. Both organize groups to act as one, precise and free flowing – with our— (???) and push forward they produce modes and models and patternsof movement between our steps over the here and after. I visualize an integratingthe heart with walking tradition looping a 16 pattern by 2 groupsof 4 one to a side 2 groups of 2 one to a side 4 groups of 1 one to a side andthe last taking a restthis pattern creates a phrase which is their mirror image to — (???) thepart This organizational overlay or hierarchy of time and space create adiscipline through which one may learn to move using the foundations ofwalking and the rudiments of drumming and catch a ribbon of time passingthru the moment. Once well established then set yourself free from holdingthe discipline and release tension into a flow and continuum into a stabilizedprocession (???) of primal awareness. Just there not really filled withanything but being.Many of our dances spent a name or history with the military legendscelebrating victories and campaigns. Being someone with a band and officeswho were in need of civilizing.I began this study with the idea that tunes played for returning frombattlefields would be of a different nature so as to aid in the processing ofbattlefield traumas and stresses, wounds, accomplishments, sacrifices, andwaste and horror. A kind of healing or integrating type to embody the menwhile walking. Tis did not turn out to be as I thought, not unusual. Now Isee myself more as a drummer boy visiting the camp fires after a long haul.Take off the weight from their shoulders, sit relax in the firelight, then bringout the heart beat drum, step up the tempos, let the simple roots, rhythmicribbons caught on the currents, deeds, stars and sparks, and lighten theburdens as well as the heart. An uplifting and integrating tune to stitchand balm the wr— (???) horrors, or one that elevates (???) and dignifies,bonding, courage, and resolve to being them back home, to rest in peaceand honor "and of answering the call".(p. 47)Saying stuff –Hardest thing to do in contra dancing? Keep from smiling, touching,and dancing round others.Best partner relationship, hand in hand, with the presence of the momentgained, walking around an edge, up, down, between the lanes. Bestdance –

2.2. RICHARD WILSON NOTEBOOK 21when my heart awakens, feels alive and openingly reaches out to all,spinning to new heights or new depths in which we fall.Best figure– a spiral in with all the varieties of one sparkling eyes, smilingfaces and burst of fun.Best advice to beginner – step on the beat but not "their" feet. Offer agentle arm and curtesies to spek.Best advice to Dance leaders– fake it till you make it, an left begins toright again.Best advice to dancers – let your body embody the rhythms with yourpartner, exchange as accord, let inspiration enthuse your leading and resolvein all your following forths.Best whisper heard on the dance floor– the sweet scented hair of healthand youth, a mature subtle gasp smiling surprise if not more.Best line to find a partner– is still "may I have this dance", or perhaps"would you like to take part?"Best time to make a move– when taking the time or filling the groove.Best way to end a fling– dissipate, to wind up and start again.Best way to enjoy the Social Occasion– meet all in fresh appreciation andleave while paying respects.Best way to fit in to the whole – All join hands and you’re ready to go.Best pulse to find – the gentle squeeze of hands every time we meet.(p.48) Beats off up back and down.Sub-dividing accents alternates and turn arounds.Cadence pause and a rest be found, mirrored, measured hierarchy andbound uplifting and pushing the phrase styles round.Celebrating off on touching the ground, pattern complete woven andwound, dancing figures rhythms and sound.(p.49)To change the system one needs to change oneself. To manifest tolerancewe practice tolerance of others.One of the highlights of contra dancing is the resolution of chaos by areturn to the structure of the dance.Mistakes come by the dozen if we let them loose or they pop up hereand there if you have worked on ones own dancing.This return to the dance moment after experience some sort of breakdown in the dance is a moment of consensual togetherness of awarenessin the return of order. The practice of a freedom of movement as well as acore balanced connection to the figure. Push and shove are not necessaryif first we move to where we need ourselves to be at the next movement

22 CHAPTER 2. A HAND EXTENDEDin the music, and then accommodate those who do not. A direction sign orpointing is generally sufficient to indicate where they should be. The receptivenessof others is generally the limiting factor but being on the edge of afigure, where the music and the figure meet, both in momentum. To do soone rides the rhythmic of the music which acts as an organizational overlaydelineated in the figures. The tempo keeps moving by whether we act ornot. Sometimes if you do not act you can create a space for a breakdown tofix itself. A wonderful moment of repose in the flow of things.Then there is the onto the next to try hope for the best.The final fix is swing your partner, and it all starts again from there byleading into a community type dance or up to the band to finish, and takethat moment of intolerance and transform into a celebration of all, and areturn from whence we came.(p. 50)Balance & Change –(p. 51)When teaching these dances I suggest that in the 1st walk thru, movethru known figures until you reach an unknown move or transition, demothe move – show move, slow down, show mechanics or idiosyncrasies, thenup to tempo to show it really looks, and onto the next. Inserting the moveall figure into the dance.I also believe that all the dances would be enhanced by taking the timeto acknowledge our partners with the curtesy of a smile and nod of appreciation,and then start the dance.I have never felt bound by guidelines, instructions, or expectations ofdances, and changed them if it proved better for the moment or my needsand then thought about it later. Discipline and freedom work best togethereven though they are in opposition, as tradition and the presence of thepassing moment.(p. 52)After I had bought the banjo and then left town (Perth (???)) before evenlearning to tune it and traveled back to Sydney. I was low on money andlooking for a job. With extra effort I landed one up in the High Mountainsabove Canberra the Country city, a winter ski lodge that was a summerattraction as well. I actually became broke getting there and had to borrow5 dollars to pay for a shuttle far from the train. I guess I didn’t learn mylesson because just a few months earlier the near same situation occurredin southern Turkey where rides were customarily payed for. I being theAmerican I was thought hitchhiking was free of charge. So anyway while

2.3. MAY DAY 2002, MC 23at the lodge doing the —(???) jobs and housekeeping, short order breakfastcook, and maintenance with an international group of young travelers. ADane (???) remarked very merrily (???) one day about my going down thehalls two rolls of toilet paper together, he was the evening musician. I guessI have been on this rhythm thing awhile, I may not have been able to playone note on the banjo but I had a knack for 2 rolls on a walk. Too bad thetwo didn’t link up.(p. 53)My first link to musical structure is a memory of the days I helped outat my fathers’ Malt Shop. Sun Valley, CA a small suburban area north ofLos Angeles. A highway, a railroad, hardware store, feed and grain store,grocery, bank, church, bowling alley, and malt shop across from the park. Iwas in elementary school and would arise before school, trek the 1/2 mileto the malt shop, and prepare for opening. Bring in the fresh baked goods,left out back, start the boilers for washing, the grill for cooking, make thecoffee and a few of the general jobs awaiting my father to come and openup. Then it was off to school and show up after school to help with thedishwashing. The malt shop had a counter of a dozen or so stools and a 1/2dozen booths along the wall. Late 50’s, early 60’s with jukeboxes selectorsat every booth. I remember once while bussing dishes that a Fats DominoBlue Berry Hill was playing and every time the instrumental came aroundI would count until it ende and went back to singing. That I discoveredsomething in music though I did not know what at the time was a big thingto me. This was a potential that layed buried for 20 years before it beganto manifest and develop into a natural part of my being. At the parochialschool I was going to we began to have little sock hops at various houses.I may have learned to dance there but to this day. I have never been ableto access anything but the slobbery kissing an the swing and bebob movesnever seemed natural when I tried them later. Nor did the social aspects.2.3 MAY DAY 2002, MC[Some background about this event would be nice. Location, some specialroles (Abbey as may queen), and other context.]Opening. We are gathered here today to celebrate one of the great mysteries.The renewal and regeneration of Life on Earth.I wonder —Looking back, how many springs have gone before.

24 CHAPTER 2. A HAND EXTENDEDLooking ahead, how many will continue into tomorrow.And looking at today:Am I a part of all this — or —Am I different.Could these not be the same wonders and questions asked by our ancestralCeltics thousands of generations ago as they stood before a tree oflife to renew their faith.The rituals we use today are from the old Celtic tradition. They are notanswers to these age old questions but rather forms which aid in reawakeningand reconnecting us to the nature of our existence.Remembering ourselves in a playful and light-hearted way, let us beginby:Consecration of the Ground.1. Joining hands we focus on the maypole as the center of our sacredcircle.2. Moving to the left, wittersins [??? I can’t find any reference to thisword - Mom], the ritual direction of the sun - we focus on the music -allowing its spirit to uplift and move our spirits.3. Facing the center we go into the center and out, raising our arms to befully extended as we reach the center with a building shout.While focusing on moving together as a whole,forming a bond between each and everyone around us.Coronation and Presentation. Let us crown the new May queen and court.Reform the circle for a progressive grand chain with a queen andprincess facing. They start by right hand, others progressively joining asthey reach them until all are going in a grand right and left around the circle.When queen and princess meet on the far side of the circle, they turnback and continue in the other direction while all others continue in thesame direction. The figure finishes progressively when the queen andprincess meet back in their original places. All continue until they are backin their original places.

2.3. MAY DAY 2002, MC 25Jumping the Beltane Fire. The queen leads the circle over the Beltane 1 fire asshe prepares to mount her horse for the processional. The first two jumpersform an arch. After jumping, the others proceed under the arch and then,progressively, they each form an arch with the person across from them atthe end of the line.Processional. The queen, mounted on her horse, and the musicians forma double line and weave through the orchard returning to the circle, andspiral in toward the maypole and out.Maypole. Uniting heaven and Earth - the union which produces Life.The queen and court stand at four directions around the maypole. Afterthey initiate the start, all others enter and exit through one of the directionsto weave the maypole sunwise or otherwise when exiting from the maypoleand returning to the circle.Ending Circle. moment of peacemoment to sharemoment to release1 Dr. Proinsias MacCana defines the word as follows: “. . . the Irish name for May Day isBeltane, of which the second element, ‘tene’, is the word for fire, and the first, ‘bel’, probablymeans ‘shining or brilliant’.” (1) The festival was known by other names in other Celticcountries. Beltaine in Ireland, Bealtunn in Scotland, Shenn do Boaldyn on the Isle of Mann,and Galan Mae in Wales. www.tryskelion.com/tryskelion/beltfaq.htm (he published severalbooks on early Celtic literature and mythology, of which he is considered one of theworld’s greatest scholars. He became a professor at the Dublin Institute of Advanced Studiesand other universities, including the Harvard School of Celtic Studies, retiring in 1997as senior Professor at the Dublin Institute. www.imdb.com/name/nm1390460/bio (internetmovie database).)

ThreeSet listsMaybe have some sample sets of dances for different occasions. What is thestrategy for getting different types of dancers moving to the music?3.1 A LIST FOR CALLING A COMMUNITY DANCE (WEDDING, ETC.)Cras egestas ipsum a nisl. Vivamus varius dolor ut dolor. Fusce vel enim.Pellentesque accumsan ligula et eros. Cras id lacus non tortor facilisis facilisis.Etiam nisl elit, cursus sed, fringilla in, congue nec, urna. Cumsociis natoque penatibus et magnis dis parturient montes, nascetur ridiculusmus. Integer at turpis. Cum sociis natoque penatibus et magnis disparturient montes, nascetur ridiculus mus. Duis fringilla, ligula sed portafringilla, ligula wisi commodo felis, ut adipiscing felis dui in enim. Suspendissemalesuada ultrices ante. Pellentesque scelerisque augue sit ameturna. Nulla volutpat aliquet tortor. Cras aliquam, tellus at aliquet pellentesque,justo sapien commodo leo, id rhoncus sapien quam at erat. Nullacommodo, wisi eget sollicitudin pretium, orci orci aliquam orci, ut cursusturpis justo et lacus. Nulla vel tortor. Quisque erat elit, viverra sit amet,sagittis eget, porta sit amet, lacus.Super basic.some words27

ofa28 CHAPTER 3. SET LISTSatof dancers.11 Richarda longatofcenteralongspiralofspiral of dancers.14 Richardthe centeroflongspiralalongcenterspiralat theatofathethecenteratofspiraldancers.1dancers.2of dancers.6 Richardthece nterRRichardofRichardcentertheofoftlonglongaspiralatataatspiralai c h a r dof dancers.5 Richardof dancers.9 Richardthe centeratspiralofof dancers.8 Richardaofcenterthethelonglongof dancers.7 Richardaa longlongthe centerof dancers.13 Richardatspiralof acentertheatofcenterspiralthecenterof dancers.3 Richardspirallongof aof dancers.4 Richardcenterat theofspiralspirallongaofcentera longlongof dancers.12 Richard at thelong spiral of dancers.15spiral of dancers.10 Richard at thecenter of aIn hac habitasse platea dictumst. Proin at est. Curabitur tempus vulputateelit. Pellentesque sem. Praesent eu sapien. Duis elit magna, aliquet at,tempus sed, vehicula non, enim. Morbi viverra arcu nec purus. Vivamusfringilla, enim et commodo malesuada, tortor metus elementum ligula, necaliquet est sapien ut lectus. Aliquam mi. Ut nec elit. Fusce euismod luctustellus. Curabitur scelerisque. Nullam purus. Nam ultricies accumsanmagna. Morbi pulvinar lorem sit amet ipsum. Donec ut justo vitae nibhmollis congue. Fusce quis diam. Praesent tempus eros ut quam.Moderately basic. Donec in nisl. Fusce vitae est. Vivamus ante ante, mattislaoreet, posuere eget, congue vel, nunc. Fusce sem. Nam vel orci eueros viverra luctus. Pellentesque sit amet augue. Nunc sit amet ipsum etlacus varius nonummy. Integer rutrum sem eget wisi. Aenean eu sapien.Quisque ornare dignissim mi. Duis a urna vel risus pharetra imperdiet.Suspendisse potenti.

3.2. A LIST FOR CALLING TO A CONTRA DANCE WITH LOTS OFBEGINNERS. 293.2 A LIST FOR CALLING TO A CONTRA DANCE WITH LOTS OFBEGINNERS.Morbi justo. Aenean nec dolor. In hac habitasse platea dictumst. Proin nonummyporttitor velit. Sed sit amet leo nec metus rhoncus varius. Cras ante.Vestibulum commodo sem tincidunt massa. Nam justo. Aenean luctus, feliset condimentum lacinia, lectus enim pulvinar purus, non porta velit nislsed eros. Suspendisse consequat. Mauris a dui et tortor mattis pretium.Sed nulla metus, volutpat id, aliquam eget, ullamcorper ut, ipsum. Morbieu nunc. Praesent pretium. Duis aliquam pulvinar ligula. Ut blandit egestasjusto. Quisque posuere metus viverra pede.3.3 ENGLISH COUNTRY DANCEI have two dances that I use as warm-ups for English Country Dancing. Ihave used them for Shakespearean performance, Winter Balls, and CountryDance Workshops.The first is this ECD warm-up.ECD warm-upECDSingle circle partner facing, mixerRichard WilsonTune: JamicaA1 ———–(4) To partner set Right and Left(4) Turn single(8) Partner Right hand turn once aroundB1 ———–(8) Partner Left hand turn 1 1/2 and on to the next(8) with the next back to back and begin again with this new partner68= 120TitleComposer (Origin)

30 CHAPTER 3. SET LISTSThe other dance I wrote for same purpose was Fingertip Waltz.Fingertip waltzECDSingle circle facing partnerRichard WilsonTune:A1 ———–(4) Partner Right hand balance(4) Box the gnat(8) Right hand turn 1-1/2 back to placeA2 ———–(4) Corner neighbor left hand balance(4) Swat the flea(8) Left hand turn 1-1/2 back to placeB1 ———–(8) Grand chain start partner right two changes with four waltz steps(8) # 3 gypsy and turn singleB2 ———–(16) Ballroom position waltz(XXX would be nice to have this in B2 instead of balancing and changingbelow since that’s similar to A1)(4) Balance as couple in, out(4) Gent lifts hand, lady under arch (changing sides and moving in close tothe center)(4) Balance out and in(4) Change back to circle giving right hands to start againPartners give little more than fingertips to dance. It is a country dance styleto teach waltz by dancing figures while learning the rhythm. A practice thatallows you to move more freely when you do dance with a partner and beable to use the music more fully between you.3.4 A LIST FOR A MORE EXPERIENCED CROWD.Vivamus sodales elementum neque. Vivamus dignissim accumsan neque.Sed at enim. Vestibulum nonummy interdum purus. Mauris ornare velitid nibh pretium ultricies. Fusce tempor pellentesque odio. Vivamus auguepurus, laoreet in, scelerisque vel, commodo id, wisi. Duis enim. Nulla

3.4. A LIST FOR A MORE EXPERIENCED CROWD. 31interdum, nunc eu semper eleifend, enim dolor pretium elit, ut commodoligula nisl a est. Vivamus ante. Nulla leo massa, posuere nec, volutpat vitae,rhoncus eu, magna.

32 CHAPTER 3. SET LISTS3.5 ORNAMINTS FOR BETWEEN SECTIONSA A N N a a n n [ [B B O O b b o o ] ]C C P P c c p p / /D D Q Q d d q q 0 0E E R R e e r r 1 1F F S S f f s s 2 2G G T T g g t t 3 3H H U U h h u u 4 4I I V V i i v v 5 5J J W W j j w w 6 6K K X X k k x x 7 7L L Y Y l l y y 8 8M M Z Z m m z z 9 9

FourA hand takenSection for others to answer the question: “Tell us a specific way Richardhas enriched the community, and enriched your life and made it more wonderful.”IJLKIJLKIJLKIJLKIJ4.1 MERRI RUDD, CALLERI first met Richard and Karolyn Wilson around the fall of 1984 at the HeightsCommunity Center in Albuquerque, New Mexico. Emily was already born(and probably was snugged to Richard’s chest while he danced). Karolynwas pregnant with Karina and dancing away. Both Richard and Karolynglowed while dancing together.Soon after, Richard stepped up to fill a caller void when Pam McKeever leftfor New York. We were a small group. I think Mimi Stewart and Richardwere the main callers back then. Then Richard took a job in California forawhile, and the family moved with him. New Mexico called him and hisfamily back several years later. They’ve lived here ever since.One vivid memory I have of Richard is from 1991. I was a new caller,terrified of being on stage. So I practiced and practiced and practiced toovercome my fear. I called one dance (out of an evening of dances) in Albuquerqueand one dance (out of an evening of dances) in Santa Fe. TheAlbuquerque caller coordinator then decided I was ready to call my firstwhole dance-on December 7, 1991 1 . I saw Richard at a dance before my gigand reported that I was about to take the plunge. After hearing the date of1 This was the 50 th anniversary of Pearl Harbor Day.33

34 CHAPTER 4. A HAND TAKENmy first whole dance, he said, with a gleam in his eye, “Well, then, it’s OKif you bomb!” We laughed and laughed, although 19 years later, he claimsto have no memory of this exchange.Richard believes steadfastly in giving everyone access to the folk community,be it dancers, callers or musicians. No matter what the skill level ofcallers and dancers, he encourages them to learn and have fun. He and Ihave different calling styles, but we enjoy egging each other on. He providesan entertaining evening for all in attendance. Once, in the early1990’s, a new and unskilled caller stood on stage for 45 minutes trying toteach a difficult dance that he did not understand. After the music started,the dance broke down and people were gathering their bags and leavingthe dance hall in frustration. Richard leaped onto the stage from thedance floor, took the microphone, yelled, “Line up for a contra, no walkthrough!!”and proceeded to gather everyone back into dance mode. Hesaved the evening. This is the only time I have ever seen him assert controlover a floundering individual for the good of the group. Otherwise, he remindseveryone to be kind and patient, go with the flow, and not dwell onour mistakes.An article called “Gotta Dance!” was published in GQ magazine in December1998. Elizabeth Gilbert wrote about rediscovering lindy hop expertFrankie Manning and going to a dance workshop taught by Frankie, whowas in his 80’s by then. Gilbert wrote, “For Frankie, style, dignity, danceand romance are connected. . . One of Frankie’s best students said, ‘Here Iam, this head-of-the-household single black mother, carrying the world onmy shoulders. But when I dance with a man, I have to relax and surrender.I have to trust that, for just two minutes, this man is going to take care ofme. . . ’ ”The article continued, talking about how Frankie once interrupted a classwith this statement: “ ‘Fellas, the lady you are dancing with is a queen.’ Thestudents laughed. Frankie said it again, ‘She is a queen.’ He was serious.‘She is a queen.’ He was going to keep saying that until we all heard him,until we all understood exactly how serious he was. The room got veryquiet.”“ ‘And what do you do to a queen?’ he asked. ‘You bow to her. Whenyou’re dancing with a woman, you should be bowing to her, all the time.That’s the feeling you should have. She is letting you dance with her. Youshould be grateful, fellas.’ ”That is exactly how Richard dances and teaches dance. He treats each partneras a queen. He takes care of her, makes her shine, guides her gently and

4.1. MERRI RUDD, CALLER 35grins (even if the “she” is a guy dancing the woman’s part!). Then he moveson to the next partner with the same focus and flair. When teaching dancehe wants us to take care of each other. He wants us to look beautiful. Hewants us to flow gracefully and to create synergy from music and dance.That is Richard’s goal: for us all to embrace the elegance that the marriageof music and dance evokes.He wants us to have fun. He is the “pied piper” of dance leadership, ofteninstigating long swirling, weaving, crisscrossing lines of dancers justto get people on their feet. He is a master of the grand march, directingdancer traffic into two lines of individuals, who reunite as couples, thentwo couples merge into a line of four, then four couples merge into a line ofeight, and so on. Anyone can participate successfully and light-heartedly,as Richard subtly leads them all to move effortlessly and delightedly to themusic.I’ve learned a lot from Richard, watching him teach dance, watching himshare his love of dance, watching him build community whether it be aone-night-stand wedding gig or a regular dance, watching the twinkle inhis eyes as he sets things into motion. “Get ’em up, get ’em movin’ ” nomatter age, experience, gender. Include everyone.The most poignant Richard story I have occurred at New Mexico’s annualFolkmadness Music and Dance weekend in Socorro, New Mexico in 2005.Richard was supposed to teach an early Sunday morning English countrydance workshop there. But he was in the middle of treatment for his cancerand was unable to do so. At the last minute, I was asked to teach theworkshop instead.To understand this story one must understand that, for almost 25 years, Idisparaged English country dance. I heard birds tweeting in every tune,all of which I thought were silly. I lacked the grace and carriage to danceEnglish well. I lacked the wisdom to understand the dance. I didn’t knowit at the time, but I disgraced dance leadership.Meanwhile, Richard loved English country dance exactly as much as I dislikedit. He was the grand master of English country dance in his baby bluesilk jacket with his elegance and poise, setting and turning and arming andheying with a proper English attitude. He had danced and called Englishcountry dance for years and years. He was the obvious choice to lead thisworkshop, not me.Richard isn’t a heavy-handed or judgmental leader. He’s gentle. He letsyou make mistakes, he doesn’t lecture. Maybe he believes you’ll figure itout eventually on your own. I did.

36 CHAPTER 4. A HAND TAKENIn April 2004 I abruptly corrected the error of my viewpoint. I was inNashville, TN staying with Susan Kevra and Russ Barenberg. Susan tookme (apologetically, knowing my lack of enthusiasm) to a small Englishdance in a hot gymnasium with recorded music. She taught Jacques Latin,and I danced it with about 20 others. At the end I said to her, “That wasfun!” She looked at me in disbelief, and I clapped my hand over my mouthin shock. I was suddenly inexplicably smitten by the joy, verve, grace, andfun of English country dance. I started my English dance collection thatweekend, poring over Susan’s dance collection with her humming tunes tome.I share these details so that readers appreciate the supreme irony of me substitutingfor Richard Wilson in leading an English country dance workshoponly a year after my conversion.So now it’s May 2005 at Folkmadness, and I am emergency-subbing forRichard. I am working with a band called The Cantrells (Emily and Al,more irony, from Nashville, TN) who used to play English tunes 20 yearsago. We’re not at all sure about our workshop, so we have a band practice,complete with dancers, under the spreading sycamore tree the day before.The Cantrells brush up on their English tunes rather quickly; they are greatmusicians. I figure the workshop is early Sunday morning; usually only 20or 30 people show up.There are 100 people at my workshop, including Nils Fredland, one of ourguest callers for the weekend.And it’s the first time I’ve ever taught English country dance. I start withWell Hall, not the best choice for a beginner’s workshop. But I have cometo love that tune and dance, the many “moments” of discovery and interactionthroughout the dance sequence. The music starts and I am observingfrom the stage many flailing contra dancers trying to master a new dancestyle. It looks AWFUL until unexpectedly, an amazing thing happens: themusic takes them where they need to be. They settle down, start floatingabove the floor and leading with their hearts, maximizing the moments.The transformation is beautiful to behold.This is the only time in 20 years that I have cried on stage.The dancers (many of whom are startled to see me teaching English) aretouched that I am touched. We carry on, not flawlessly, but exuberantly,playfully, and truly in the spirit of English dance. And certainly in honor ofRichard Wilson, whose name I invoke more than once.Richard and Karolyn show up later for lunch, and Richard seeks me out toask how my workshop went. I cry again, relating the details to him, and he

4.1. MERRI RUDD, CALLER 37seems bemused by my emotion.I went on to teach other English dance workshops at several weekend gigswith a mix of English and contra dance. I reminded the dancers that thegreat moments found in English dance could be found in other dance forms.Several reluctant contra dancers reported to me (with some surprise) thatthey “now love English country dance.”In Colorado in 2008 when I called the Stellar weekend with Notorious andHands Five, a retired schoolteacher approached me at the end of the Englishworkshop. She said she enjoyed how I captured the dancers’ attentionwith my enthusiasm and love for English country dance, which she felt wasstrongly evident. I stood silently for a moment, with tears filling my eyes(I was off-stage). I said, “For twenty+ years, I set a bad example on thedance floor with my disdain for English country dance. And one day aboutfive years ago, I ‘got’ it. I LOVE English country dance now and I’m tryingto make up for all the harm I did before.” “Well,” she said, “don’t worry.You’re more than making up for it now.”I partly credit Richard for this lesson, which took me so many years to learn.He had been quietly leading English dance for years. I think he taught me,just by his example and without me even knowing it, how to be a betterdance leader.Perhaps the greatest gifts that Richard and Karolyn have given to the folkcommunity are their five daughters, Emily, Karina, Lily, Laurel and Charlene.Watching Richard dance with each of his daughters through the yearsis a treasured memory. I suppose those girls had no choice but to growup lovely, graceful, accomplished in music and/or dance. Karolyn is thematriarch of the family, raising five girls with love, warmth, strength, andsong. And she has brought many other young lives safely into the worldthrough her midwife practice.Emily has been a skilled dancer from age five. When less skilled, mucholder men would try to guide her incorrectly in a dance, she would politelybut firmly decline the lead and go exactly where she needed to be. Eventually,the men came to rely on her to get them where they needed to be.Karina, also a graceful dancer, has evolved into a fiddler of extraordinarytalent, the notes of English dance tunes hanging mid-air at the moment thedancers’ eyes meet or bodies swoop past. Her contra rhythms excel too. Shestarted as all musicians must start, learning and goofing up as she went,visibly flustered when she made a mistake, forgot an A or B part of thetune, or dropped a phrase. Somewhere along the way, her tunes steadied,her repertoires increased, and she became an accomplished English country

38 CHAPTER 4. A HAND TAKENand contra dance fiddler.A bunch of us travelled to Oklahoma City in February 2008 for an Englishcountry dance weekend with Bare Necessities. Richard drove with two ofhis daughters and several other young dancers. He appeared to enjoy dancingall weekend.My friends Meg, Kit, Mary and I joined the band for lunch on Saturday, andwe told Mary Lea about Karina, who was attending as a dancer. Bare Necessities’fiddler Earl had a high fever and struggled to keep up his energy.On Saturday night, we were waltzing to the achingly haunting notes of oneof those “waltzes to die for.” I looked toward the stage and saw Karina sittingin with Mary, Jackie and Peter. I was stunned and thrilled! Earl waslying on his stomach behind the stage with acupuncture needles protrudingfrom his neck. Karina, then age 23 and playing with some of the mosttalented musicians in the world, blossomed that night. Richard was thereon the dance floor, in his blue silk jacket, applauding, proud papa beamingas he watched his daughter soar.Lily dances wonderfully too. Recently at a benefit dance for Richard andhis family, Lily took the microphone and called one of her dad’s dances,flawlessly. I didn’t even know she was a caller 2 .Laurel is twenty now, beautiful, poised, articulate, a dancer and singer. Theyoungest Charlene attends the Santa Fe School for the Arts, where she islearning to share her gifted voice and love of music. They all obviouslydote on “Papa.”Richard has devoted his time, energy, skill, and love to the music and dancecommunity for more than thirty years, with enthusiasm and creativity. Heand Karolyn have ensured that the folk traditions will thrive through theirfive charming daughters. Richard continues to encourage our community’syouth and everyone else, to call, dance, play, flow, and have fun.Thanks, Richard, for all you do. We are better dancers and leaders becauseof you.November 2010, Albuquerque, NMpq2 It was her first time calling, with Erik’s encouragement.

4.2. DONNA BAUER, CALLER, ORGANIZER 394.2 DONNA BAUER, CALLER, ORGANIZERA Dance Community Comes TogetherIn our local contra dance community we have various callers that call forour weekly dances whether it be in Albuquerque or Santa Fe. Most of thecallers in our area have called for our group for over twenty years and eachof them have their own style or trademark of calling. One caller in particularis Richard Wilson who has a special knack of bringing the dancers andmusicians together. He does this by bringing the dancers up to the stagearea and as the band is finishing the tune the dancers are clapping to themusic.Richard and his wife Karolyn are the parents of five wonderful daughterswho dance and also learned to waltz when they were very young. Richardwould take a turn with each of them and take them around the hall once towaltz. They would wait patiently in line.Recently, Richard had a relapse of his melanoma cancer and has been travelingto different hospitals for medical advice. With any type of illness thefamily is strapped for money so the dance community decided to come totheir rescue with a benefit dance.The benefit dance was held at the Lloyd Shaw Dance Center with all proceedsgoing to the family. We began with a potluck supper followed by anhour of straight waltzing with the band Mad Robin. The waltzing was followedby a contra dance and each caller that volunteered to call was givenone of the dances that Richard wrote. We had a total of 10 callers whichincluded a ten year old girl and one of Richard’s daughters calling for thefirst time.The dancing began in a true Richard fashion by getting everyone to join in along line of dancers much like a Grand March. The line of dancers stretchedand stretched as it wound its way out of the main dance hall through a partof the kitchen area into the small studio around the Silent Auction tables,out into the lobby and back into the dance hall where we did a spiral thatreally wound around. It was followed by a single line, double line onto aline of eight dancers up to the front of the hall where the dancers clappedas the Megaband played.Richard was able to attend the dance with his family and was right behindErik Erhardt as the line of dancers traveled around the hall.The contra dance officially began and there were close to 20 musicians inthe Megaband. The dance was also attended by many folks from Santa Fe,a couple from Las Cruces and a couple from Flagstaff. There were some

40 CHAPTER 4. A HAND TAKENof our new dancers and some dancers from past years so it was one bigreunion.On Saturday, November 6 a local dancer decided to spearhead a Silent Auctionas part of the event. It was amazing that in less than a week we hadquite a number of items for the auction. It included a hammered dulicmer,a piano, framed pictures, clothing, jewelry, a Sunbeam mixer, CD’s and astorage shed. That event was set up in the small studio which included aclothesline to hang up the clothing.A good time was had by all and between the donations and the silent auctionwe raised close to $2.400.00 which will really help the family.November 2010, Albuquerque, NMced4.3 STEVE O’NEILL OF THE COTTONWOOD STRING BANDWhere would the Albuquerque contra dances be without Richard Wilson?What if he hadn’t caught the bug to revive them back in 1985? The danceshad crashed and burned a couple years earlier, and Richard had a visionto start a dance, a regular dance. There was no money, no organization oroutside support. Richard had the idea that with a volunteer band, a dancecould operate on a shoestring. But there was no band, few competent andappropriate musicians around, and fewer interested in a regular free gig.But Richard persevered. He managed to get Scott Mathis on board – a greatbeliever in community music – who in turn recruited musicians from aregular local jam, including me. Thus, the Cottonwood String Band – asRichard dubbed it – was born!And what dreadful music we played! Richard was the de facto bandleader,trying hard to inspire some semblance of danceable music. I was the leadfiddler, barely able to eek out enough potatoes to start a tune. Potatoes wereoften served up by the concertina (Jack Klintworth never shirked seriousresponsibility) and other unlikely instruments as well, because Richard wasalways the most inclusive, egalitarian bandleader imaginable. As horribleas some of the music was, Richard never flinched, never showed any signof frustration or exasperation, never an inkling of a negative disposition.

4.4. NORALYN PARSONS, CALLER 41There did come a time when there had to be a dance. The first dances werepretty sparse. Never within the band, mind you, but on the dance floor.Richard did not have an easy time dragging reluctant band members downto fill out a square, but he made it work. The dances gradually becamebetter attended, and he, exclusively, called all of the dances. Richard Wilsonbelieved in the positive power of dance, and he was intent on its succeedingin Albuquerque. Not until Doc Litchman also volunteered to call, muchlater, did Richard have even a modest reprieve in calling.So the Cottonwood String Band was composed of many who might be consideredunderdogs of the music scene. Who among us at the time wouldhave attempted, or even imagined ever playing professional music gigs?The requirements of Richard Wilson’s regular band practice: maintaining atempo, performing in front of an audience, stamina for extended playing,playing a wide variety of music, making mistakes but having to recoverimmediately – are things not taken for granted by the uninitiated. The CottonwoodString Band was the small beginning of bigger musical things tocome for the original band members, as well as for all those in the Megabandwhich grew out of it. The vision, dedication and stamina were RichardWilson’s.October 2010, Bozeman, MTced4.4 NORALYN PARSONS, CALLERRichard Wilson is the epitome of a true gentleman. We only slowly got toknow Richard after we moved to New Mexico, due to making only rareappearances at contra dances. (sigh – that’s what happens when one has afolk dance addiction!) But it wasn’t hard to notice those bright blue eyesstudying into your eyes in a dance, or his graceful way of moving througha dance, or his kindness to anyone sitting out – he’d be the first to makesure that person was in the next dance. The most remarkable thing aboutRichard, I think, is his enthusiasm about sharing his passion of dancing. Heis always ready to help the next person learn to enjoy the dance, as well –who knows how many converts he’s made?! Not only knowledgeable, he’salways aware of having fun with a dance – not allowing “proper” to get in

42 CHAPTER 4. A HAND TAKENthe way of the “fun” – and from the mic, reminding the crowd that we’rehere to have fun, after all, and if we goof up – well, that only adds to thehigh spirits!November 2010, Albuquerque, NM

FiveDancesDancing is pretty fun. We can say something generally about Richard’swriting of dances, and that he doesn’t call contras by others but writes allhis own. Each dance can have music specific for it, if desired.43

44 CHAPTER 5. DANCESArch blessingRichard WilsonContra Tune: The B part works very well with Haphazard, a tune in themedley Train to Prague/Gypsybride/Haphazard.Duple-ImproperA1 ———–(8) Balance the ring and Morris cross (both diagonals)(8) Balance the ring and Morris cross back (returning to home place)A2 ———–(16) Neighbor balance and swingB1 ———–(4) Gents allemande left 1/2(4) partner right hand balance(8) partner swingB2 ———–(6) Circle Left 3/4(2) Partner California Turn to face new neighbor couple(8) New neighbor symmetric Do-si-do1s arch while 2s duck to start do-si-do, into new circle of 4Calling Notes: A1 - Morris cross has diagonal opposites trade places, likea right-hand star 1/2 without hands. See the dance by that name for moreinformation.Other Notes or Variations: B2 in this dance is a countdown type, headingfor the first beat of the new A1. 1s keep inside hands joined for circle, Californiaturn, and symmetric do-si-do, while 2s do the same except separateto finish the do-si-do.

4568= 120TitleComposer (Origin)

46 CHAPTER 5. DANCESArchs between .ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) 1/2 Sashay and neighbor swingA2 ———–(6) Circle left 3/4(2) Partners arch, gents under to exchange positions(8) do-si-doB1 ———–(16) Neighbor balance and swingB2 ———–(8) Ladies chain across (8) Long lines forward and backCalling Notes:Other Notes or Variations: 2005Every moment has an opening, if you see it you can step thru, finding thespace between.In the Circle left 3/4, partners make an arch and gents step thru to changeplaces with your partner and then dance the do-si-do. This adds just theright amount of time so the music at the beginning of the B1 comes aroundprecisely at the moment for the balance and swing becoming a focal pointof the dance.The 1/2 sashay and swing is an alternative to a balance. While facing yourpartner in long lines, take joined hands with new neighbor, make an arch,the lady slips thru as they exchange places and swing.

4768= 120TitleComposer (Origin)

48 CHAPTER 5. DANCESBalance and change .ContraDuple-ImproperRichard WilsonTune:A1 ———–(16) Neighbor balance and swingA2 ———–(8) Long lines, forward and back(4) Ladies trade by right shoulders(4) Gents trade by right shouldersB1 ———–(8) Circle Left 3/4(8) Partner swingB2 ———–(8) Gents allemande left 1-1/2 to a wavy line of 4(4) balance the wave(4) neighbor aleemande right 1/2, pass up-and-down to new neighborCalling Notes: XXX I don’t understand this note: This is a balance doneas you are moving toward your partner/neighbor. Take two hands as youmeet, turn as a couple 1/2 way to change places, and fall back with gentsleft hand in ladies right, then together and swing.Other Notes or Variations:

4968= 120TitleComposer (Origin)

50 CHAPTER 5. DANCESBack step balance .ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) New neighbor balance/ box the gnat(8) Right hand turn 1-1/2 (gents cross over)A2 ———–(16) Partner gypsy and swingB1 ———–(4) back step balance(4) all cross over, turn alone(8) single-file walk around clockwise 3/4B2 ———–(4) form and balance circle(4) spin moving one place to right(4) form and balance circle(4) spin moving one place to the rightface new neighborCalling Notes: XXX I don’t understand this note: This is a balance doneas you are moving toward your partner/neighbor. Take two hands as youmeet, turn as a couple 1/2 way to change places, and fall back with gentsleft hand in ladies right, then together and swing.Other Notes or Variations: “Petronella” turn take off using an English stepback balance.Though it catches people by surprise it is done by standing shoulder toshoulder with your partner and preparing with your partner to step backfirst instead of forward a two-count move then stepping forward part asmoving into the next figure of crossing over. It solved a timing problem Iwas having at that point.

5168= 120TitleComposer (Origin)

52 CHAPTER 5. DANCESChain the ladies overContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Long lines, forward and back(8) Hands-across Star LeftA2 ———–(6) Gents drop out and ladies continue to turn 1X(2) Ladies pirouette and gents catch(8) Partner swingB1 ———–(8) Ladies do-si-do(8) Gents do-si-doB2 ———–(4) Partner allemande left 1X(4) Courtesy turn 1X(8) Ladies’s chainCalling Notes: I always take time to show the safer way to transition fromladies left turn to partner swing. Ladies do the pirouette while gents catchher and swing — a proactive choice.Other Notes or Variations: This is the first dance that I wrote in the early1980s. It has survived several mutations but sometimes I still do it in itsoriginal form. All have the same A1/A2 while the B part is what metamorphoses.For example, B1 (8) Circle left 3/4, (8) neighbor do-so-do, B2 (16)Balance and swing same neighbor

5368= 120TitleComposer (Origin)

54 CHAPTER 5. DANCESChange in plans *ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Long lines, forward and back(8) Ladies Promenade new Neighbor Gent across the SetA2 ———–(8) Gent’s chain(8) Ladies’s chainB1 ———–(8) Circle Left 3/4(8) Partner swingB2 ———–(8) Circle Left 3/4(8) Neighbor swingCalling Notes: XXX Is Gent’s chain a right or left pull-by?Other Notes or Variations: good toward end of eveningsimple partner play(develop 1-1/2role changing)Barbara Ann, Pharohs LowDuring the late ’90s I felt that some of the traditional boundaries were becomingtransparent, with regard to writing dances. It has always been soon the dance floor, in point of fact I met my wife while dancing the women’srole at a College Contra dance class in the ’70s.The Ladies promenade the new gent begins the role change. It may have tobe demonstrated to articulate the different roles. The gents chain over byright hand, continues in that mode. Next comes the transition into traditionalroles — the courtesy turn is augmented — Here are some examples.1) basically it is a left hand turn 1 1/2 to send the ladies back in. 2) changingplaces by turning under 1st as the lady turns gent under and out on hischain across and then the gents turn the lady under and out ready to be leadinto the chain back. 3) Use the roll over technique of double courtesy turn

Lady begins to courtesy turn gent, then gent rolls over and ends courtesyturning lady.55

56 CHAPTER 5. DANCES68= 120TitleComposer (Origin)

58 CHAPTER 5. DANCESCrossover Anew *ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Long lines, forward and back(8) Partners cross by the right, turn alone to face inA2 ———–(8) New couple, circle left 3/4(8) Partner swing (lady’s side)B1 ———–(8) Gents allemande Left 1-1/2 in center(8) Neighbor Do-si-doB2 ———–(16) Neighbor balance and swingCalling Notes: XXX Dance does not progress as currently writtenOther Notes or Variations: ? fall boys, Road to Lisdoonvarna [?notes Ican’t read, then] Good dance, good transitions, ? [called at least 35 timessince 2001]Written in 1998Though simple and easy to get, the cross and form a new circle each timethru, adds an element of surprise that does well for this dance.I have varied B1 by letting the ladies turn in the center after the gents:B1 ———–(8) Gents allemande Left 1-1/2 in center(8) gents out ladies in, turn once around pirouette

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60 CHAPTER 5. DANCESCurtesy promenade .ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) New Neighbor allemande Left 1-1/2(8) Promenade across the SetA2 ———–(8) Ladies’s chain(8) 1/2 hey, Ladies passing right shouldersB1 ———–(16) Partner balance and swingB2 ———–(8) Circle Left 3/4(8) Neighbor allemande Right 1-1/2Calling Notes: XXX A1 was “Gengs 1/2 courtesy promenade ladies”.What is a courtesy prom?Other Notes or Variations: I seemed to be entranced by the spiral anduse it often in my dances. Here the spiral shows up at the beginning ofthe dance when the new neighbor left hand turn folds into a spiral with acurtesy turn and then they come out of the spiral as a couple and 1/2 promenadeacross. The rest of the dance follows suit with smooth transitions.

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62 CHAPTER 5. DANCESDeja vu and the next *ContraDuple-ImproperRichard WilsonTune:A1 ———–(16) Neighbor balance and swingA2 ———–(8) Gents allemande left 1-1/2(8) Scoop up Partner, star promenade across the set, butterfly whirlB1 ———–(8) Ladies do-si-do(8) partner swingB2 ———–(8) Ladies’s chain(8) Ladies do-si-doCalling Notes: XXX how does progression happen at the end of B2?Other Notes or Variations:

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64 CHAPTER 5. DANCESDouble good progression .ContraDuple-ImproperA1 ———–(8) Down the hall, four in line (turn alone)(8) Return and Bend the lineA2 ———–(16) 2s full figure 8 down between 1s (with 1s shuttling)B1 ———–(16) New Neighbor balance and swingB2 ———–(16) 1s balance and swing in the centerend facing down 1s between new 2sRichard WilsonTune: Reel to MontréalCalling Notes: try double figure 8 in A2double progression – accommodate a double figure 8 or not [Meaning somecouples can do the double figure while some couples do not do it if they aretwos]Other Notes or Variations: As the 2s are doing a 1/2 figure of 8 in theA2 music the 1’s have a moment shuttling between the 2s as the 2s movethrough their figure 8. Meeting, parting, moving up and moving down inopposition to the 2nd couple.Finding opportunities for a playful interaction with a partner like a gentlesqueeze of their hands during the shuttle can give rise to a meaningfulgesture of respect, appreciation, and awareness of a chance to make themsmile.It is possible to substitute a double figure eight where both couples aredancing the figure 8 together before moving off to a new neighbor to balanceand swing. Simple, sweet, engaging, with basically 4 figures and a lotof movement, double progression adding to that. I use it to lift the energy,near the beginning of the evening or after the break or at the end of a dance.

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66 CHAPTER 5. DANCESFall back 4ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Long lines, forward and back(8) Star Left (hands across)A2 ———–(8) gents drop out at home, Ladies allemande left 1X(8) partner swingB1 ———–(4) Fall back with a balance(4) come forward turning single(8) Right and left throughB2 ———–(8) Ladies chain(8) promenade across the setCalling Notes:Other Notes or Variations: This dance has an English flavor and is dedicatedto Jerome, and early dance organizer in Durango. A buzzy dancemade flowy by an English type tune.

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68 CHAPTER 5. DANCESFingertip Waltz *Waltz MixerCircleEasyRichard WilsonTune:A1 ———–Face Partner, Right-hand balance and box-the-gnat (“turn under changingplaces”)Partner right-hand turn 1-1/2 back to place into a circle wave (i.e., Alamowave)A2 ———–Neighbor Left-hand balance and swat the flea (“turn under changingplaces”)Neighbor left-hand turn 1-1/2 back to placeB1 ———–Starting with Partner, Grand change 2 changes (partner right, next left)Third person (new partner) gypsy 1X then two-hand turn 1XB2 ———–New partner balance in and out, turn lady under changing sides (move intoward center)repeat back to placeCalling Notes:Other Notes or Variations:

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70 CHAPTER 5. DANCESFollow up .ContraDuple-ProperEasyRichard WilsonTune:A1 ———–(16) 1st diagonals elbow swing in the center to trade placesA2 ———–(16) 2nd diagonals elbow swing in the center to trade placesB1 ———–(8) 1s up center, cast down - 2s wait then follow 1s during cast(8) 1s 1/2 figure 8 up with 2s following (end progressed & proper)B2 ———–(8) Circle Left 1X(8) Star LeftCalling Notes: XXX A1,A2 - Rt/8, left/8 or reverse allemand, voyagerswing, waist swingXXX define “voyager swing” and these other figuresGender-free contraOther Notes or Variations:

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72 CHAPTER 5. DANCESGarden gateContraDuple-ImproperBeginner-EasyRichard WilsonTune:A1 ———–(8) Down the hall, four in line (turn alone)(8) Return and Bend the lineA2 ———–(8) Circle Left 1X(8) Circle Right 1XB1 ———–(8) Ladies’s chain(8) Ladies’s chainB2 ———–(8) Long lines, forward and back(8) with new neighbor Garden gate into line of 4 down the setCalling Notes: B2 - Garden gate, 2s back up while 1s gate down betweenthe twos 1-1/4 into lines acrossOther Notes or Variations: This is a first contra of the evening dance — fullfigures rooted into the musical phrase, mirror imaging, a dance core witheasy access to all and medleys into other dances or substitute alternativefigures for aligning with circumstances better.I wrote this particular version for Karina my daughter as she started calling.Underlining alternative ways of articulating and changing the calls to finda place that fits in to the music. The figures are simple enough so we canfocus on grooving with the music and infecting others with the spark ofcommunity dancing.

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74 CHAPTER 5. DANCESGasping reel *ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) 1s down the center between the 2s, separate around and back to place(8) 1s Do-si-do, end facing neighborA2 ———–(16) Neighbor balance and swingB1 ———–(8) Long lines, forward and back(8) Circle Left 1XB2 ———–Notes: XXX Still some confusion, too many calls:A1 ———–ones down the center between twos, separate around andback to place, do si doA2 ———–face neighbor, balance and swing2s up center around 1s back to placeB1 ———–Lines forward and back, circle left once round2s balance and swing in center, end facing upB2 ———– repeat with twos leading up, put, and around to do si do; endwith ones swing in center to end facing upCalling Notes:Other Notes or Variations:

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76 CHAPTER 5. DANCESGents repent *ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Balance Right & Left, slide right one place, reforming the wave(8) Balance Left & Right, slide left one place, reforming the waveA2 ———–(6) Neighbor right hand turn(2) Ladies weave across(8) Gents follow then gents left gyp in center going back homeB1 ———–B2 ———–Calling Notes:Other Notes or Variations: Turn of the Century Contra, 2000.Another use of a classic figure Rory O’More balance. Done in a wave formationpartner in right hand.A gyp is a walk-around and head back in the direction you came from. Itseems more functional then the lingering gaze gypsy of contra.A1 - a slight pull-on and push off the center created by your joined handsnaturally happens.

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78 CHAPTER 5. DANCESJolly threesome (mixer) .ContraSicilian CircleRichard WilsonTune:A1 ———–(start: spokes 3 ladies facing 3 gents, the inside couple is #1)(8) 1s down the set (out from center), turn alone(8) Return and cast off with inside coupleA2 ———–(16) Contra cornersB1 ———–(16) 1s Partner balance and swing, WHILE other four Circle Left 1-1/2B2 ———–(8) With old partners, forward and back, turn half(8) With new partners, forward and backXXX B1 - is Circle Left around the 1s swinging in the cen-Calling Notes:ter?Other Notes or Variations: Notes on back: Boo Camp ’07; poem:When gone are the offspringand the ghosts begin to hauntand all the little things left undonedrawn from the shadows to taunt

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80 CHAPTER 5. DANCESLadies lead, gents followContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Neighbor allemande Left 1-1/2(8) Promenade across the SetA2 ———–(8) Circle Left 3/4(8) Partner Do-si-doB1 ———–(16) Partner balance and swingB2 ———–(8) Right and left through(8) Ladies lead into a hands-across Star Right, gents follow behind partnerCalling Notes:Other Notes or Variations: This dance was choreographed for a Post Texasweekend, a good pick up dance. I generally encourage the courtesy promenadein A1, where the gent folds around behind the lady while turning byleft. A lot of crossing the midline of the set, whirls, and then takes off forthe next couple.

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82 CHAPTER 5. DANCESLasso the ladiesContraDuple-ImproperRichard WilsonTune:A1 ———–(16) Neighbor pinky-gypsy and swingA2 ———–(8) Long lines, forward and back(8) Circle Left 3/4B1 ———–(16) Partner lasso and swingB2 ———–(8) Ladies’s chain(8) Long lines, forward and backCalling Notes: B1 - Lasso keeps connected hands with partner (Gent’s left,Lady’s right) and Gent draws Lady clockwise around his body and pullinto a swing.Other Notes or Variations:"Lasso the Ladies" –part of my bring back the lasso.I use a gypsy or sashay & swing your neighbor to start the dance, thencircle 3/4 around to get your partner on the side at gent’s home, keepingthe gents left and ladies right hand joined.The gent lifts his left hand to above his head and leads his partner aroundhim clockwise like a lasso. One time high and then the gent lowers his handand does it one time low, then embracingly catches his partner into a swing.There is a release of hands when doing the low lasso. I believe it to be quitedizzying if the gents add extra spins to the lasso.

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84 CHAPTER 5. DANCESLet’s roll over and do it again. Richard WilsonContraDuple-ImproperTune: Reel de MontréalA1 ———–(8) Long lines, forward and back(8) Neighbor Do-si-doA2 ———–(16) Neighbor balance and swingB1 ———–(8) Ladies chain(8) 1/2 hey, Ladies passing right shouldersB2 ———–(4) Lady courtesy turn gent, lady roll gent away (double courtesy turn)(4) Gent promenade lady across the set (this happens quickly)(8) Ladies chainCalling Notes: XXX Notes: music: waynesboro, ??, [?bad] coffee. (?Lastturn under need to be left out or started early across) Notes on back: afterpromenade if timing an issueOther Notes or Variations: Wrote for a May Camp workshop in 1999In between has always been a concept that fascinated me. In between oursteps is where all the movement happens, in between our partners is wherethe dance occurs, and in between us all are woven the ribbons of our communitygathering, finding space and time where none seemed to be is thedynamic of this dance.The B parts of this dance are done as a continuous movement. Ladies chainand 1/2 hey, start the figure. The next move I call a double curtsy turn, ashe goes/he goes feel (traditional roles exchanged to start). The lady begins(leading) a courtesy turn with her partner taking left hands in lead andRight behind, as the turn progresses the gent rolls in front of the lady toexchange position and now leads the lady in a courtesy turn then into the1/2 promenade and ladies chain over to end.It seems to be a space and timing issue, space because it feels like you pulltight to the center between partners to cause the dynamics of the roll away,

you sort of flip to change places. The timing is critical yet it is the end ofthe 1/2 promenade and ladies chain where it is an issue. Leaving out thestandard practice, turning the lady under after the 1/2 promenade, thoughsaves a couple of counts if you find yourself entangled and a little late.85

86 CHAPTER 5. DANCES68= 120TitleComposer (Origin)

88 CHAPTER 5. DANCESMathis mayhem *OtherOtherRichard WilsonTune:A1 ———–start: Lines around a circle, 2 gents inside, 2 ladies on outside, line of 4facing line of direction counterclockwise4-in-line process around cir CCW, middles arch & ends duck through thendip & dive four changesA2 ———–at #5 come up and swing [the one of opposite gender; end facing othercouple]B1 ———–opposite dosido, ladies elbow-turn R one timeB2 ———–?neighbor dosido (the one you swung), Gents elbow-turn r one time [endin center, facing line of dance]Calling Notes: Notes: or never triedB1 cir L 3/4, swing ?NB2 ladies dosido, gents dosidoOther Notes or Variations: Notes on back: called Boo Camp ’09, SF 3/10

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90 CHAPTER 5. DANCESMorris CrossRichard WilsonContra Tune: Done for tune “Train to Prague” by band “Three Bean Salad”.Sicilian CircleA1 ———–(4) Balance circle of 4(4) pass thru to next couple(4) Balance circle of 4(4) Morris crossA2 ———–A2 (mirror image)(4) Balance circle of 4(4) pass thru to original couple(4) Balance circle of 4(4) Morris cross (to home place)B1 ———–(16) Neighbor balance + swingB2 ———–(8) Circle left once around(8) Partner swing, face new coupleCalling Notes: A1/A2 - Morris cross has diagonal opposites trade places,like a right-hand star 1/2 without hands.Other Notes or Variations: The Morris Cross is a figure derived from aspring morris dance done while holding tall saplings. It is a six-man cornercrossing figure, all crossing together at once. Use an image of two diagonalscrossing at the same time and passing behind the person on your left givingan overall starburst effect to the figure.Rhythmically it is: (4) balance in and out, (4) cross to the diagonal, turn andface in. An 8-count figure and mirror image back is one A part.It is difficult to get a mental handle on this figure and must instead rely ontrust to really get it to work. Directly across the diagonals rather than 1/2around the circle.

The dance was transformed into the contra “Arch Blessings”.91

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94 CHAPTER 5. DANCESNew lite upgradeContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Long lines, forward and back(8) Hands-across Star LeftA2 ———–Gents drop out(8) Ladies continue Left allemande 1X(8) Partner swingB1 ———–(8) Circle Left 3/4(8) Neighbor Do-si-doB2 ———–(16) Neighbor balance and swingCalling Notes:Other Notes or Variations: Notes at bottom: use ladies turn over L shoulder(pirouette) out of star before P swing [called ’97 on, several times]

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96 CHAPTER 5. DANCESPlanetary motion .ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Circle Left 1X(8) Neighbor swingA2 ———–(16) Gents pull by left, ricochet hey (start P right; as ladies do full hey, gentspush off when they meet) [so end w/ G on ladies’ side]B1 ———–(16) Partner swingB2 ———–(8) Circle Left 3/4(8) Balance the ring and California twirlCalling Notes: A2 - variations: ladies full hey, gents push off, or Gents fullhay, or Ladies push off, or all push off, or full hey for 4 and no push offOther Notes or Variations:

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98 CHAPTER 5. DANCESQuite contrary *ContraDuple-ImproperRichard WilsonTune:A1 ———–to back new one below, 2-hd turn 1 ¡ the sameA2 ———–cir L 1X, back to back same one below 1 ¡ (into)B1 ———–skipping hey in line of 4 (start right to outside line)B2 ———–back to back same one below, 2 hand turn and leave progressedCalling Notes:Other Notes or Variations: Mary Judson’s 15th birthday, 2/29/80EnglishLike a leapyear birthday, or Contrary to your partner (di)

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100 CHAPTER 5. DANCES

101Repent and revival (turn of the century).Richard WilsonContraDuple-ImproperA1 ———–(wave along sides, G face out)(8) Balance and slide to the right (as in Rory O’More)(8) Balance and slide to the left (as in Rory O’More)A2 ———–(4) Neighbor Right Allemande 1/2(4) Ladies weave across passing Left shoulder(8) Gents gypsy Left shoulder in center to face PartnerB1 ———–(16) Partner balance and swingB2 ———–(8) Circle Left 3/4(8) Pass through up-and-down, new Neighbor Do-si-doTune:Calling Notes:Other Notes or Variations:

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103

104 CHAPTER 5. DANCESRight-hand GypsyContraDuple-ImproperIntermediateRichard WilsonTune: Trip to KilburnA1 ———–(8) Neighbor Full Sashay (like swing move on the side facing in)(8) Neighbor swingA2 ———–(6) Circle Left 3/4 (on side partner)(2) pass Right shoulder up-and-down(8) Left-shoulder gypsy shadowB1 ———–(8) Right-hand gypsy(8) Left (reverse) shoulder-hold swingB2 ———–(8) Ladies’s chain(8) long lines, forward and backCalling Notes: A1 Full Sashay: facing across set, join convenient hand(lady R, gent L) pass lady under Gent’s left arm, then pass Lady behindgent (from right to left) while she slides her right hand across his back tocatch in his left hand on his left side, pull into a swing.B1 R-hand gypsy: with right-arm extended downward, fingertips towardground and palms toward own leg, catch hands and turn. Left (reverse)shoulder-hold swing: bring R arm up into an allemande, pivoting by palms,put left hand on partner’s R shoulder and swing counter-clockwise.Other Notes or Variations:written.The R-hand gypsy is the sexiest move ever

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106 CHAPTER 5. DANCESRoll, weave, and gypsy .ContraBecket-CWRichard WilsonTune:A1 ———–Start 4 in line facing down, 1s on L & 2s on R [Becket-like](8) Down the hall, four in line (turn alone)(8) Return and Bend the lineA2 ———–(4) Balance circle(4) Roll partner lady away(8) Ladies weave across (gypsy chain) and onto next Neighbor along thelinesB1 ———–(8) Gypsy Neighbor(8) Neighbor swingB2 ———–(8) Circle Left 3/4(8) Partner swingCalling Notes: A2: A gypsy chain is a chain without hands.Other Notes or Variations: Notes on back: called about 20 times; G choose:gypsy or balance in B2

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108 CHAPTER 5. DANCESRound and catch and swing . Richard WilsonContraDuple-ImproperTune: Flying home to ShellyA1 ———–(8) Long lines, forward and back(8) hands-across Star LeftA2 ———–gents drop out(8) Ladies allemande left 1X(8) partner swingB1 ———–(8) Down the hall, four in line(4) inside arch, outside through(4) tuck and roll as you come back, back lead (outside) arch, (inside) duckthrough, turn to face in a circleB2 ———–(8) Circle Left 3/4(8) Neighbor swingCalling Notes: XXX B1 tuck and rollOther Notes or Variations:

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110 CHAPTER 5. DANCESSalvation / 8 on the side * Richard WilsonContraDuple-ImproperTune:A1 ———–(8) long lines, forward and back(8) ladies weave across wh/ Gents gypsy back in centerA2 ———–(16) Partner gypsy and swingB1 ———–(8) Circle Left 3/4(8) neighbor (hey for 3) start R (figure 8 on the side) (pass N right, and nextleft gypsy back)B2 ———–(16) Neighbor balance and swingCalling Notes: XXX B1 describe the hey for 3Other Notes or Variations: Notes: tune?: March on the DanforthNotes on back called ’02, Ś09:

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112 CHAPTER 5. DANCESStar over thar .ContraBecket-CWRichard WilsonTune: Over the DanforthA1 ———–(8) Long lines, forward and back(8) cross over (pass through) & turn left, Star Left 3/4A2 ———–(16) New Neighbor swingB1 ———–(8) circle left 3/4(8) 1/2 hey, Gents pass partner right shouldersB2 ———–(16) Partner gypsy and swing (if on time, balance and swing)Calling Notes: teach: Ladies pass P right holding on & loop out to starthey, G pass left in center don’t forget BecketOther Notes or Variations:

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114 CHAPTER 5. DANCESStellersContraBecket-CWRichard WilsonTune:A1 ———–(8) long lines, forward and back(8) Ladies’s chainA2 ———–(8) Ladies’s chain(6) circle left 3/4(2) pass through up-and-downB1 ———–(16) hey, new neighbor right then Ladies passing left shoulders in centerB2 ———–(16) Partner balance and swingCalling Notes:Other Notes or Variations:

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116 CHAPTER 5. DANCESStep back in time *ContraDuple-ImproperRichard WilsonTune:A1 ———–(4) Right hand balance(4) Box-the-gnat(4) Right hand turn 1X(4) Gents weave across by left shoulderA2 ———–(16) Partner gypsy and swingB1 ———–with partner balance (step) backcross over turn, alone, walk around clockwise 3/4B2 ———–(8) Balance the ring and spin to the right (petronella)(8) Balance the ring and spin to the right (petronella)Calling Notes: XXX B1 - what is the cross over turn?Other Notes or Variations:

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118 CHAPTER 5. DANCESTails end *ContraDuple-ImproperRichard WilsonTune:A1 ———–A2 ———–B1 ———–B2 ———–Calling Notes:Other Notes or Variations: Tails End –This is a basic contra where theoretically the figure needs more time thanthe music leaving you 4 steps away from the new neighbor to start. Neverseemed to be a problem and helped the dance move better.I wrote this dance for the ’08 Banjo and Fiddle Contest dance which hasalways been a challenging struggle. Matching music and dance is generallyan issue and using contras always adds to the teaching. This one takes littleteaching and works with a variety of standard old-timey tunes. Overall,couples facing couples, random groupings or in a large circle formationsare more flexible and fit old-timey music better.

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120 CHAPTER 5. DANCESThe other way roundContraBecket-CWRichard WilsonTune:A1 ———–(4) Gents pull-by Left(12) Neighbor swingA2 ———–(8) Circle Left 1X(8) Next couple, hands across Star LeftB1 ———–(4) Gents drop out, ladies continue left-hand turn to Partner(4) Partner Balance(8) 1/2 hey, Gents passing left shouldersB2 ———–(16) Partner balance and swingCalling Notes:Other Notes or Variations:swing, ?can’t read one noteNotes on back: called 3 times; tried double

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122 CHAPTER 5. DANCESTime between *ContraDuple-ImproperRichard WilsonTune:A1 ———–(4) 1/2 Sashay(12) Neighbor swingA2 ———–(8) Circle Left 3/4(8) Gents under, Partners arch [trade w/ P], P dsdB1 ———–(16) Partner balance and swingB2 ———–(8) Ladies Chain(8) Long lines, forward and backCalling Notes: XXX A2 is confusingOther Notes or Variations:

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124 CHAPTER 5. DANCESTuck and rollContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Long lines, forward and back(8) New neighbors, left hand country starA2 ———–(8) Gents drop out, ladies continue 1X(8) Partner catch and swingB1 ———–(4) Down the center four in line(4) Insides arch and outsides under(8) Tuck and Roll — leading up two-by-two, leads arch and followers duckunder, turn alone to face other couple (all are back in original positions)B2 ———–(8) Circle left 3/4 (8) Neighbor SwingCalling Notes:Other Notes or Variations:

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126 CHAPTER 5. DANCESVeer on *ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Circle Right 3/4(8) Partner allemande Left 1A2 ———–(8) Ladies do-si-do(8) Partner gypsy and swingB1 ———–(4) Gents Left turn 1/2 in center(4) Neighbor balance(8) start hey for 4 (gents 3/4, ladies full)B2 ———–(8) Circle Left 1X (gents leading partner)(4) Veer leftCalling Notes: XXX B1 not enough timetransformational figure - hey to circleOther Notes or Variations: A “veer to the left” progression. Done at Folk-MADS Boo Camp; “3 Bean Salad” was the band.The challenge was in the timing of veering off to the next and meeting themwhile moving into a new “circle right” at the beginning of the tune. It wasaccomplished by having the gents turn 1/2 in the center by the left, pausefor a balance (right hand) with your neighbor, then start the hey for 4 (6changes) until the gents return to their home side and lead into a “circleleft” with partner following.I listen for a tune that slides easily from the end of B2 into the beginning ofA1, and something to articulate the figure overlapping the B parts.

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128 CHAPTER 5. DANCESWaynesboroContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Neighbor allemande left 1-1/2(8) 1/2 hey, Ladies passing right shouldersA2 ———–(16) Neighbor balance and swingB1 ———–(4) Gents allemande left 1/2(12) partner balance and swingB2 ———–(8) Long lines, forward and back(2) Box-the-gnat(6) Star Right 3/4Calling Notes:Other Notes or Variations: Notes on back: May 1st & 2nd,mother/daughter [?idea for who the two ladies are, in a line of 4]medley with Curtsy Promenade

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130 CHAPTER 5. DANCESWith hay *ContraDuple-ImproperRichard WilsonTune:A1 ———–(8) Long lines, forward and back(8) New neighbors, Hands-across Star LeftA2 ———–Gents drop out(8) ladies continue w/ left-hand turn(8) Partner swingB1 ———–(8) 1/2 hey, Gents passing left shoulders(8) Partner balance and swingB2 ———–(4) Gents turn Left allemande 1/2(12) Neighbor balance and swingCalling Notes: XXX A2 part sw, B1 part b&swOther Notes or Variations:

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133Notes

NOTESNOTE: This book assumes that the reader knows something about squareand contra dancing (as indeed one should in order to do any teaching orcalling). The following glossary is intended more as a reminder than as atutor; for the most part, entries are limited to terms used in the book.[Make sure Richard’s additional moves (such as Morris cross) are includedin this glossary]134

GlossaryAllemandeA hand turn, usually with the implication of leaving the person turned and going tosomeone else.BalanceStep forward (or to the right) on the right foot and bounce on it, then step back (or tothe left) on the left foot and bounce on it.Bend the lineEach half of a line of four turns to face the other half across the set.Box the gnatTwo facing dancers join right hands and exchange places, the lady going under thegent’s arm.Break to a lineFrom a circle of four, active gent drops his left-hand hold and the dancers open out toform a line. If heads are active, the line is at the side, with the head gent at the leftend.California twirlA couple changes direction by trading places, with the lady walking under their joinedand raised hands. The lady is on the right before and after the about-face.Cast offActives coming up the center (or center two people in a line of four) leave each otherand dance out around the inactives, ending by facing each other across the set, oneplace below their former position. Inactives usually turn with the actives, hand inhand or arm in arm.CircleThree or more dancers join hands in a ring and move to their left (clockwise) unlessthe opposite direction is specified.Contra cornersThe people next to your partner. Your first corner is diagonally to your right, your135

GLOSSARYsecond corner to your left.CornerIn a square or big circle, the person next to you who is not your partner. If all arefacing the center, the gent’s corner is to his left.Country star Another name for a hands-across star.Dip and diveCouples travel around or across the set, alternately arching and ducking througharches as they meet other couples.Do-si-doTwo people dance around each other without touching, passing right shoulders tostart. Unless they choose to spin, they face the same direction throughout (compareGypsy).Duple A dance made up of two-couple subsets.Forward and back Always a full eight steps in New England.Grand right and leftDancers work their way around the set, giving right and left hands alternately to thosethey meet.Grand right and left directionIn a square or circle, clockwise for the ladies, counterclockwise for the gents.GypsyTwo people dance around each other without touching, keeping right shoulders towardeach other and maintaining eye contact throughout (compare Do-si-do).Half figure eightActives cross over as they come up the center (lady going first), then cast off (unassisted)around the inactive on the side they crossed to.Half promenadeCouples promenade across the set, keeping to their right, and wheel to face the othercouple.Hey for fourFour dancers each trace a floor pattern like a figure eight with an extra loop in the middle.Each person passes right and left shoulders alternately with those he/she meets.When leaving the hey, each person loops in the direction of the last shoulder passedand comes back in passing that shoulder again.Hey for threeThree dancers each trace a figure eight. Two of them start by passing one shoulder; thethird comes in using the other shoulder. After the first pass, each person comes backin by passing between the other two people.136

GLOSSARYImproper Having the first couple crossed over to start.Ladies chainTwo ladies exchange places by giving right hands in passing; they give left hands tothe gent opposite, who turns them on the spot in promenade position to face the othercouple.Morris crossThe Morris Cross is a figure derived from a spring morris dance done while holdingtall saplings. It is a six-man corner crossing figure, all crossing together at once. Usean image of two diagonals crossing at the same time and passing behind the person onyour left giving an overall starburst effect to the figure.NeighborIn a contra, the person of opposite sex in your subset who is not your partner.Pass throughExchange places with the person opposite by passing right shoulders, then follow thenext call.PromenadeCouples move to their own right (unless otherwise specified) around, across, or alongthe set. Partners are side by side, gent’s right arm around lady’s waist; right handsare joined at lady’s hip, left hands in front of gent.ProperHaving all gents in line to caller’s right, ladies to caller’s left.Right and left throughTwo couples pass through, then take promenade position and wheel (as in ladies chain)to face the other couple.Rights and leftsFour dancers execute a miniature grand right and left, usually moving against theusual direction.SeparateTwo dancers move away from each other, usually going outside the set behind one ormore inactive people.StarFour people join right (or left) hands and move in the direction they face. They maytake hands with the person directly opposite in the star, or each person may hold thewrist of the one ahead.137

GLOSSARYSwingA couple in waltz position revolves clockwise on the spot, using a buzz step (right footleads, left foot pushes in double time). They end side by side, lady on right, facing thedesignated direction.Triple A dance made up of three-couple subsets.TurnTwo people join right (or left) hands chest-high and move around each other, using theordinary dance-walk.Turn alone To execute an about-face on the spot.Turn as a coupleMay be done by wheeling or by executing a California twirl.Turn contra cornersActives turn partner by right hand, first corner by left, partner by right, second cornerby left.Wave or Wavy lineA line of people facing in alternate directions.WheelTo change direction as a couple while remaining side by side.138

GLOSSARYWe welcome your comments on this book and suggestions for futurebooks, recordings, and other teaching aids. Write to: Erik Erhardt aterik@StatAcumen.com.139

BibliographyWords before the bibliography. Below is an example bibliography. We maynot need one.[Bri99]Robert Bringhurst. The Elements of Typographic Style. Hartley & Marks,second edition, 1999. ISBN 0–88179–033–8.141

IndexDancesArch blessing, 44Archs between ., 46Back step balance ., 50Balance and change ., 48Chain the ladies over, 52Change in plans *, 54Crossover Anew *, 58Curtesy promenade ., 60Deja vu and the next *, 62Double good progression ., 64ECD warm-up, 29Fall back 4, 66Fingertip waltz, 30Fingertip Waltz *, 68Follow up ., 70Garden gate, 72Gasping reel *, 74Gents repent *, 76Jolly threesome (mixer) ., 78Ladies lead, gents follow, 80Lasso the ladies, 82Let’s roll over and do it again., 84Mathis mayhem *, 88Morris Cross, 90New lite upgrade, 94Planetary motion ., 96Quite contrary *, 98Repent and revival (turn of thecentury) ., 101Right-hand Gypsy, 104Roll, weave, and gypsy ., 106Round and catch and swing .,108Salvation / 8 on the side *, 110Star over thar ., 112Stellers, 114Step back in time *, 116Tails end *, 118The other way round, 120Time between *, 122Tuck and roll, 124Veer on *, 126Waynesboro, 128With hay *, 130TunesJamica, 29TuneName, 45, 47, 49, 51, 53,56, 59, 61, 63, 65, 67, 69, 71,73, 75, 77, 79, 81, 83, 86, 89,92, 95, 97, 99, 102, 105, 107,109, 111, 113, 115, 117, 119,121, 123, 125, 127, 129, 131143

CardsA pocket in back with 4x6" cards already printed.145