Contra dance choreography specifies the dance formation, the figures, and the sequence of those figures in a contra dance. The figures repeat, ideally, in a graceful flowing pattern, aligned with the phrasing of the music. Contra dance figures (with a few exceptions) do not have defined footwork; within the limits of the music and the comfort of their fellow dancers, individuals move to the beat and embellish according to their own taste. Much of the dance is done as a walking movement, one step for each count of the music, while the arms and hands do most of the changing, most of these involving connecting with others' hands.
Most contra dances consist of a sequence of about six to twelve individual figures, prompted by the caller in time to the music as the figures are danced. As the sequence repeats, the caller should be able to cut down his or her prompting, sometimes to a single word for every figure, and eventually stop calling, leaving the dancers to each other and the music.
A figure is a pattern of movement that typically takes eight counts, although figures with four or sixteen counts are also common. Each dance is a collection of figures assembled to allow the dancers to progress along the set.
A count is one half of a musical measure, such as one quarter note in 2
4 time or three eighth notes in 6
8 time. A count may also be called a step, as contra dance is a walking form, and each count of a dance typically matches a single physical step in a figure.
Typical contra dance choreography comprises four parts, each 16 counts (8 measures) long. The parts are called A1, A2, B1 and B2. This nomenclature stems from the music: Most contra dance tunes have two parts (A and B), each 8 measures long, and each fitting one part of the dance. The A and B parts are each played twice in a row, hence, A1, A2, B1, B2. While the same music is generally played in, for example, parts A1 and A2, distinct choreography is followed in those parts. Thus, a contra dance is typically 64 counts, and goes with a 32-measure tune.
In figures such as an allemande, rollaway or swing, dancers commonly give weight, leaning slightly away from their partner to create tension. This is necessary in some dances to perform the figures quickly enough, and is considered good dancing style. [1]
Same-sex partners are increasingly common in contra dancing, either by preference or to accommodate different numbers of men and women attending; in the descriptions that follow, gentleman and lady refer to roles rather than sexes.
The gent may choose to spin the lady under his arm at the end as a flourish; in some areas this spin is practically a rule, while in others it is unheard of. As with twirls, flourishes can add some fun, but can also slow things down and affect the timing of the dance. Promenades are frequently used to move a couple to the opposite side of the set, or to bring dancers back to place (useful when dancers get lost mid-dance).