Try using fewer words. The search algorithm looks for exact matches of text strings. Often one word is enough. Try looking at some sample searches.
For more information, there's a whole separate search FAQ.
After getting search results, cut-and-paste the url at the top of your browser.
This is a resource for callers, rather than dancers. We're trying to keep the notation consistent, and hence searchable. You are encouraged to use your own words for many of these figures. (Should the non-gypsy camp coalesce around one replacement term for "gypsy", I may rethink my position.)
Part of it is time -- changing all references, especially the shorthand M and W to G and L would take 40+ hours. Part of it is worry that changing the shorthand of women to L for ladies will be confusing, as L is also used as shorthand for Left. So, for now I'm keeping the terms I started with back in 2010.
However, when transcribing, teaching, or calling the dance, you are encouraged to use whatever role terms are best for you and your community. Current common pairs include "Gents" and "Ladies," or "Larks" and "Ravens." (Larks finish the swing on the left, ravens finish the swing on the right.)
This database is for callers researching the dance. There's extra information encoded to help understand, diagram, and search on the dances. (These are not the words you should use for teaching the dance!) For details, see the short glossary.
There's lots of moves in contra, from many different traditions. If you're not sure, there's a full glossary. If you're still stuck, try looking at the original source material, or asking on a caller listserve.
We'd love to include them! Send them here, in some format. Or, if they're already on the web somewhere, just send a link and we'll include the link on the dance page.
Easier to read and understand formats will be processed first, so if you send them as individual blurry pictures of your dance cards written in pictographs, you may be lower in the queue.
Please only send dances that have been tested.
If you have more than 50 dances, please send them in two batches -- one of your best 50-or-less, and one of everything else.
We have a couple levels of permissions for how much information is revealed about your dances. If you'd like to restrict that, read the question below about permissions, then please email us.
We currently have the following permission levels:
If you're the author, we'll happily change permission on your dances. Each individual dance can have its own permissions, and you're free to change your mind at a later date. Please email us. It may take a few weeks to process.
Dances also have one of two tags:
Probably not. We're making the descriptions share a common language so that they can be searched on.
If you think you have a strong case, you can still discuss it, but any change will be applied globally to every dance.
One possibility is there's an actual typo. Another is that I may agree with you. A third is I might disagree -- you can tell the dancers to do a circle left 1 & 1/4 in eight beats, but most dancers just aren't going to get there in time. Email us if you'd like to discuss it.
Please do! There are bound too be tpyoes in the the database. Though some apparent typos may be from a different way of annotating the dance. Email here.
A couple reasons. I don't have enough time. They don't fit as nicely formatting-wise or phrase-wise. And singing squares are their own kettle of worms.
I strongly recommend against this.
First, you probably want to use your own terms for many things -- especially gender roles and "gypsy." But even something as simple as "In long lines, go forward and back" has many better ways to state it while teaching or calling. In this database, it's only written that way so it's in the format of [formation], [verb] [direction]. On stage, you don't need or want that specificity.
Also, writing it in your own words helps you understand the dance before the gig, rather than trying to figure it out from the database's dance instructions as the dancers are waiting for you.
The progression out of Becket Reel is, starting with partner on the side of the set (in Becket formation, naturally):
On left diagonal, right and left through with partner Across the set, right and left through with partner
It feels like single progression, because at the start of this, you're across from one neighbor, and after this, across from the next. But it's actually double progression. There's two ways to tell this.
This database project was brought to you by a several-year collaboration between Chris Page and Michael Dyck. The data is all extracted from Chris's personal database of dances, which he's been compiling and standardizing since 2010. Michael handled the coding and standardization, found typos and inconsistencies in the data, wrote the search algorithm, and put the whole thing on the web.
We'd like to thank the authors of dances in the database, especially those who gave us permission to show the figures of their dances.
(And a thank you to Seth Tepfer for letting us use his name "The Caller's Box".)
This is a volunteer project with a small number of volunteers, so please be kind.