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Appendix A: Materials for Notating a Folk Dance Event

The following table sketches a methodology for notating (or, in Propp’s

terminology, tabulating) a folk dance event. The individual items presented here

are derived from direct observation of activities undertaken by participants in the

events included in the data base. It is not presumed to be a complete table, but a

starting point for folk event notation.

α: Predance (setup) activities

α1 sweeping and clearing the dance floor of chairs or other obstacles to dancing

α2 moving a piano

α3 setting up sound equipment such as a mixer, cables, microphones, monitors, and speakers

α4 setting up and stocking a refreshment area

α5 setting up a place for the collection of admission fees

α6 setting out flyers advertising other dance venues

α7 performing “sound checks” with the musicians and caller in order to set volume levels

β: Instruction prior to the beginning of the main dance activity

β1 announcing the start of instruction and inviting participants to assemble

β2 assembly of participants

β3 requests for experienced dancers to help balance a set

β4 explanations and demonstrations of figures by caller or instructor

β5 performance of figures by dancers

β6 performance of dance

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γ: Admission fee collection activities

γ1 setting up a cash box

γ2 setting out sign-up sheets such as membership rosters, mailing lists, and insurance rosters

γ3 advising participants or posting a notice of fees

γ4 collecting fees

A: Welcoming and invitation activities

A1 announcing the beginning of the dance or dance segment

A2 introducing the band and caller

A3 an invitation to form sets

B: Partnering activities

B1 asking someone to dance

B2 being asked to dance

B3 accepting a request

B4 rejecting a request

B5 escorting one’s partner onto the dance floor

B6 “finding a place in the set” independently of one’s partner

C: Formation in sets

C1 deciding which set to dance in

C2 finding and taking a place in the set

C3 caller’s suggestion to form a new set, or fill out a short one

C4 signaling the need for more couples to complete a set

D: Pre-dance amenities

D1 introducing oneself

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D2 conversation with one’s partner

D3 conversation with one’s neighbors

E: Organization of the set

E1 directions to take “hands four” or other organizing gesture

E2 announcement of set organization (by name)

E3 directions on how to form the set

E4 actions taken to form the set

E5 reinforcement description of the set formation

E6 requests to straighten lines

E7 requests to square sets

E8 requests to otherwise regulate formation

F: Walkthrough

F1 announcement of the figure (by name)

F2 description of the figure

F3 demonstration of the figure

F4 rehearsal performance of the figure

G: Music

G1 playing “four potatoes” or other introductory section

G2 playing the first or only tune

G3 playing additional tunes in a medley

H: Calling

H1 calling by the caller

H2 calling by others

H3 singing calls

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H4 clogging

H5 other musical performance

H6 other kinesic performance

H7 corrections by the caller

H8 corrections called by dancers or other participants

H9 verbal behavior by dancers acknowledging a figure

H10 conversations with musicians

H11 conversations with other participants

H12 preparations for the next dance

I: Dancing

I1 dancing the prescribed figures

I2 clogging or other repeated figure by the caller

I3 dancing by those not directly involved in the prescribed figures

I4 dance innovations and stylings

I5 other kinesic activity by dancers

I6 conversation

I7 partnering exchanges

I8 flirtation

I9 “repair”

I10 “revenge”

J: Sound monitoring

J1 sound monitoring at the mixer

J2 responding to musicians or caller

J3 checking individual speakers

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K: Post-dance amenities

K1 applause

K2 thanking one’s partner

K3 hugging one’s partner

Couple dance

↑ Start of break

P: Break activities

P1 engaging in conversation

P2 taking refreshment

P4 celebrating a birthday or other event

P5 advertising/sale/purchasing of tapes and CDs

P6 forming groups on floor, near stage, outdoors, etc.

↓ End of break

S: Community announcements

S1 activities performed by the caller to assemble dancers

S2 actions taken by the dancers in response

S3 initiation of announcements (by caller)

S4 announcements (by caller or other participants)

Z: Close of dance

Z1 announcement at start of penultimate dance

Z2 announcement at start of last dance

Z3 announcement at end of last dance, with call for last waltz

Z4 turning down of the lights

χ: Payment of key participants

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χ1 counting the money

χ2 apportioning the amounts to be paid caller and band

χ3 paying the money out

ω: Postdance (breakdown) activities

ω1 sweeping and replacing chairs

ω2 moving a piano back to its original place

ω3 taking down and removing sound equipment

ω4 clearing and cleaning a refreshment area

ω5 removal of anything set up for the collection of admission fees

ω6 removing flyers

ω7 sound experimentation and “tweaking ”

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Appendix B: Contra dances and tunes performed at Ballard Eagles, Seattle, September 24, 1998.

Table B1 shows dances called by Warren Argo at the Ballard Eagles contra

dance event of September 24, 1998, and tunes played by the band Bag o’ Tricks.

The band consisted of Anita Anderson (piano), Dave Bartley (guitar, cittern), John

Denyes (bass), and Sande Gillette (fiddle). The arrows in column 3 indicate

medleys.

No. Dance Tunes 1 Roll in the Hay Silver Spire Canadian Holiday 2 January Jig Shores of Loch Gowna Boys of the Town 3 Proper Symmetry West Mabou Reel Names Escape Me 4 Double Boomerang Sue’s Dream Old Joe 5 Balance in the Hey Reel de Mattawa Outback 6 Say’s Swing Miller’s 28th of January Crazy Dog Come

Along, Jody 7 Joy [unnamed] Keep It Up 8 With Thanks to the

Dean The Walk Home Jack Bartley’s Jig Boys of

Antrim 9 Fiddleheads Frenchies Ti-mé

10 The Reunion Rannie McLellan’s Catharsis Devil’s Churn 11 Double Hot Fudge Sean Ryan’s Joy Red Crow 12 The Baby Rose Rom Riley’s Jean’s

Table B1: Contra dances and their tunes for the September 24, 1998 event

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Appendix C: Portland contra dance called by Mary Devlin, Portland, November 28, 1998

Table C1 shows dances called by Mary Devlin in Portland, Oregon, on

November 28, 1998. The band consisted of Anita Anderson (piano) and Sande

Gillette (fiddle), from Seattle, with Portland cellist Fred Nussbaum. In column

one, C indicates a contra dance, M a mixer, and S a square. The arrows in column

3 indicate medleys.

Num. Dance Tunes C1 Troxler’s on the Loose Sergeant Early’s Dinkey’s M1 The Flircle Shenandoah Falls Serendipity

Baker’s Favorite C2 Trip to Lambertville Teviot Bridge Crimea River C3 Another Nice

Combination Paddy on the Landfill Farewell to

Chernobyl S1 Ed’s Square Canadian Holiday S2 Lavender Moon Cul Aodh Jig C4 Weave the Line Falling Leaf Jig Devlin’s Falling Leaf C5 Uncle John’s Contra Phoenix Evil Diane Waltz Pernod Swing [Improvised blues/swing] Hambo Blue Moon Hambo C6 Close Friends Rannie MacLellan Catharsis Devil’s

Churn C7 Chorus Jig Shores of Loch Gowna Boys of the

Town C8 Meschach’s March Sue’s Dream Willafjord Gold Stud C9 Somewhere Not Far

From Here Bridgewater Boys’ Breakdown Evit

Gabriel Outback C10 The Second Time

Around Mackerron’s Mr. Danger It’s Too Hot

Waltz Two Rivers Polka Killavil Postman

Table C1: Dances called by Mary Devlin in Portland, November 28, 1998

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In table C2, the figures named in column one are mostly standard contra

figures, except for the pousette, which is more common to English. Devlin

constructed this table prior to the dance, to make sure there were no figures that

could become tedious. The swing, which occurs in every dance, is an exception:

this is the contra dancer’s favorite figure, and dances without swings are often

regarded as defective. The ½ symbol indicates a half-hey.

Figure C

1 M1

C2

C3

S 1

S 2

C4

C 5

C6

C7

C8

C 9

C 10

Actives swing + + + Partner swing + + + + + + + + + Neighbor swing + + + + + + + + + + + Do si do + + + + Down the hall 4 in line + Circle + + + + + + + Forward and back + + + + + + + Chain + + + + + + Allemande + + + + + + + Gypsy + + + Promenade + + + + + Balance circle + + Right & left through + + Pass through + + + Star + + + + + Square through + Box the gnat + Hey ½ + ½ Shift + 1s down out/in + Cast off + Contra corners + Pousette +

Table C2: Figures in dances called by Mary Devlin, November 28, 1998

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Appendix D: Triangle Country Dancers dance guide and Harvest Moon Folk Society tip sheets

The first document was issued in winter, 1999, by the Triangle Country

Dancers, a group based in the “research triangle” area of North Carolina. The

second document was issued in spring, 1999, by the Harvest Moon Folk Society

of Greenville, South Carolina, after an extensive email exchange on the issue of

“sleaze dancing.”

Triangle Country Dancers 1999 Guide To Dance Etiquette

Contra dancing is and should be fun! In order to help maintain a safe, friendly atmosphere, TCD offers the following helpful explanations and hints to our newcomers and to our established dance community.

SOCIAL BEHAVIOR:

Contra dance etiquette can be confusing to a newcomer. Contra dancing is highly social by nature and provides the opportunity for friendly interaction with an entire room full of people. You may observe experienced dancers flirting to various degrees during a dance. Contra dance flirting may be meaningless fun or completely serious. You may also notice dance partners holding hands while forming lines. This usually occurs between dancers who know and trust each other. It is not required, and many experienced dancers neither flirt nor engage in non-dance handholding. As with all personal interactions, respect, discretion, and common sense are your best guide to what is or is not appropriate.

In his article "Everything About Contra Dancing That Nobody Ever Talks About," Dave Goldman writes "When you fill a room with a hundred people of both genders, a wide range of behaviors will result. Some of these behaviors will surprise a newcomer, but seem perfectly appropriate to experienced contra dancers. Others exceed the bounds of appropriateness, but go unchallenged because the victim is unsure of what's considered normal in this community, or doesn't know how to react. In rare cases, the Perpetrator may not even be aware of his or her error." Here are some general dance etiquette guidelines to observe while at a Contra dance.

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GENERAL:

Dancing is more fun when you get to know other contra dancers. We all share a common love of dancing, and there are many wonderful, friendly people with whom to socialize during and after a dance. Anyone may ask anyone else to Contra dance. Same-gender dance partners are common, especially when there are unequal numbers of men and women.

PERSONAL SPACE:

Eye contact is an integral part of Contra dancing and is often used to prevent dizziness during swings or allemandes. Eye contact is also fun and part of the friendliness of Contra dancing. Contra dancers definitely like to stare into each other's eyes, which is a practice that can be unnerving for newcomers. Holding one person after another in your arms all evening is certainly not something most of us experience anywhere else but a Contra dance. We recommend maintaining eye contact if you are comfortable doing so. If not, you may focus on your partner's ear, chin, collar, etc., being careful not to focus your gaze anywhere that could make your partner uncomfortable. It is important to maintain firm physical contact to support your partner during Contra dancing, but not anyplace that could make your partner uncomfortable. Unlike ballroom dance, turn your face toward your partner, being careful not to allow your left arm to push down hard on your partner's arm. This will prevent your partner's arm from making awkward contact with your breast.

CHILDREN:

Contra dances are family environments and many dancers who cannot find or afford child-care bring their children along from time to time. In order to maintain a safe environment for both the children and adults, we request that parents prevent non-participating children [from being] on the dance floor during the dance, as this is extremely dangerous for everyone. Children are welcome to attend beginner classes and learn to dance if they are interested.

IMPROVISING:

Many experienced contra dancers improvise or "style" during a dance. TCD encourages artistic expression and experimentation, and remind[s] dancers that being on time and helping your partner be on time is always more important than embellishments in Contradance. Do your best to maintain a sense of "place" within your line to safeguard the safety of those around you.

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SENSITIVE ISSUES:

Most of us are uncomfortable or unwilling to confront another person about their hygiene or behaviors, regardless of how well we know them. We present this subject here in the hope of preventing the need for one-on-one conversation that could be considered embarrassing or confrontational.

PERSONAL HYGIENE:

Contra dancing, unlike most sports, promotes close physical contact with multitudes of other people. This proximity requires us be a bit more aware of ourselves than we might be otherwise. Some of our dancers are hypersensitive or allergic to highly scented products such as perfume, after-shave, shampoo, etc. Others are reactive to odors such as spices, onions, garlic, etc. Out of sensitivity to others, many dancers avoid highly spiced food before a dance. It is always preferable to arrive freshly bathed and in clean clothing. Please avoid wearing perfume, after-shave or cologne to a dance.

D.U.I. (DANCING UNDER THE INFLUENCE)

Contra dancing is an activity that requires accurate body movement and precise timing in order to be safe and fun. Another extremely sensitive issue at dances is the ingestion of substances that may cause a dancer to lose the focus required to remain safely in control. A number of dancers have voiced dismay to the organizers about individuals attending dances obviously intoxicated and it affecting their dancing and social interactions. Please exercise personal responsibility and sensibility. If you choose to have a beer with dinner before a dance, make sure you can still maintain the control necessary to dance safely. In the extreme case of a dancer who is out of control and endangering others, the organizers will ask that person to leave.

Triangle Country Dancers works hard to promote a safe, friendly environment we can all enjoy, and we welcome anyone who wishes to become a part of this dance family. We also welcome feedback on these guidelines. Any board member will be happy to hear from you and in particular, help address a specific concern of the type described above that might arise at a dance.

Happy Dancing to you all!

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Harvest Moon Folk Society: Contra Tips For Newcomers

Harvest Moon Folk wants you to know that newcomers are welcome and important. We hope you have a good experience on the dance floor and come back for more!

1. Have fun! It's only a dance. Don't be nervous about making mistakes when learning to contra dance. Every person on the dance floor was a beginner at one time and even experienced dancers make mistakes.

2. We highly recommend that newcomers attend a beginners session 30 minutes prior to the beginning of our dances. You'll catch on more easily and have a lot more fun.

3. Men and women are equal on the contra floor. Men ask women to dance and women ask men equally.

4. In order to minimize newcomers stress, it's usually a good idea for two newcomers not to dance together the first couple of dances. Ask an experienced dancer to dance with you. They'll help get you where you need to go and you'll probably pick up the dance more easily.

5. It is typical of contra dancers to dance with a different partner each dance. When a dance ends, find a new partner (whether you know them or not) and jump back in there!

6. As lines are forming for a dance, you and your partner join in at the end of a line. It is not considered good "contra etiquette" to jump in the middle or the top of a line.

7. The caller will "walk thru" each dance before the dance actually begins. It's a very good idea to listen to the walk thrus. If you have trouble with the walk thru, ask the caller for help.

8. It's important to be on time in contra dancing. If you and your partner get off track, it's better to skip that move and try to get to the next move on time.

9. There is no fancy footwork in contra dancing. You're shooting for a smooth walking step, not a bounce. Also, unless you are a real natural, you'll probably want to keep things simple when first learning-i.e. a walking swing vs. a faster "buzz step" and unnecessary twirls. There will be many opportunities for all those twirls that you see on the dance floor once you feel more comfortable with what you're doing.

Important to contra: 1. Eye contact. Always give eye contact (and it doesn't hurt to smile either!) when you have a transaction with another person–male or female–on the dance floor, and 2. Giving weight. Giving weight to fellow dancers will help propel you flowingly into the next move. Eye contact and giving weight will help you feel that "people connection thing" that contra dancers love so much.

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Contra Courtesies (aka Tips For Experienced Dancers)

1. Dance gently and safely, in total control (vs. with wild abandonment), particularly on a crowded dance floor. Be considerate of other dancers' space.

2. Finish a move or swing in time to make it to the next move on time.

3. As lines are forming for a dance, you and your partner join in at the bottom of a line or set. It is not considered good "contra etiquette" to jump in the middle or front of a set.

4. Dance with newcomers and help newcomers. They'll feel more welcome and become confident dancers much faster. Once upon a time, you were a newcomer too, ya know.

5. Listen to walk-thrus (vs. learning your partner's entire life history) so that those who are trying to hear the instructions can do so.

6. About twirling: Some love to twirl, some don't. Some prefer a good ole c[o]urtesy turn to a twirl, so be considerate on the dance floor. This is mainly addressed to men because men are typically the twirlers (vs. the twirlees). A woman should be given the opportunity to twirl, not be twirled by her partner. A forced or "cranked" twirl can be quite uncomfortable. After your partner twirls, it is your responsibility to help her become oriented towards the next move. In other words, don't "twirl 'em and leave 'em"!

7. About that swing: Be respectful of the person you are swinging. Do not dance or swing too closely (as in pressing yourself against your partner) or dance suggestively unless you are absolutely sure your fellow dancer wants you to dance/swing with them like that. Never do so with a minor or newcomer.

8. If a fellow dancer does anything to you that you deem inappropriate, let them know. If you cannot tell them during the dance, then do so afterwards. If they continue, notify the dance organizers. Dancers who exhibit offensive behavior repeatedly will be asked to leave.

9. No alcohol, smoking, or overbearing fragrances in the dance hall.

10. Do your part. Give a hand. Help out the few "always-there-hard workers" who give their time to make our dances happen. Come early whenever you can to help set up or stay late to help break down. A handful of people do most of the work and they could use your help!

Remember, it's only a dance. Have fun!