Comical 18th-century country dance; engraving by Hogarth
A country dance is any of a very large number of social dances of a type that originated in the British Isles; it is the repeated execution of a predefined sequence of figures, carefully designed to fit a fixed length of music, performed by a group of people, usually in couples, in one or more sets. The figures involve interaction with your partner and/or with other dancers, usually with a progression so that you dance with everyone in your set. It is common in modern times to have a "caller" who teaches the dance and then calls the figures as you dance. Country dances are done in many different styles.[1]
As a musical form written in 2 4 or 6 8 time, the contredanse was used by Beethoven and Mozart. Beethoven's 6 Ecosaises WoO83 are dated to 1806.[2] Mozart's 6 Ländlerische Tänze, K.606 are dated to 1791. [3]
Introduced to South America by French immigrants, Country Dance had great influence upon Latin American music as contradanza.
A set is a formation[6] of dancers. The most common formations are longways for as many as will, i.e. couples in long lines, and squares, consisting of four couples. The longways formation occurs in over 12,000 modern contra dances;[7] it was also the most popular formation in all the dance publications of the 18th and early 19th centuries.[8] In 2003, Burleson's Square Dancer's Encyclopedia[9] listed 5125[10] calls or figures. Circles and fixed-length longways sets are also very common, but the possible formations are limited only by the imagination of the choreographer.
Thomas Wilson, in 1808, wrote, "A Country Dance is composed of an indefinite number of persons, not less than six, but as many more as chuse, but six are sufficient to perform any figure in the treatise."[11] Wilson was writing about his own period. In fact, there are numerous dances for two couples, and quite a few for three or five dancers.
A figure is a pattern that the dancers trace along the floor, simple ones such as Circle Left are intuitive and can be danced with no prior knowledge, while complex moves such as Strip the willow need to be taught. The stepping and style of dancing varies by region and by period.
Wilson, in 1820, wrote, "Country Dance Figures are certain Movements or Directions formed in Circular, Half Circular, Serpentine, Angular, Straight Lines, etc. etc. drawn out into different Lengths, adapted to the various Strains of Country Dance Music." .[12] Again, the possible figures are limited only by the imagination of the choreographer. Examples of some of the figures are provided in the Glossary of country dance terms.
The music most commonly associated with country dancing is folk/country/traditional/historical music, however modern bands are experimenting with countless other genres.
While some dances may have originated on village greens,[13] the vast majority were, and still are, written by dancing masters and choreographers.
Each dance consists of a series of figures, hopefully smoothly linked together, designed to fit to the chosen music. The most common form of music is 32 bar jigs or reels, but any music suitable for dancing can be used. In most dances the dancers will progress to a new position so that the next time through the music they are dancing with different people.
While English folk dance clubs[14] generally embrace all types of country dance, American English country dance groups[15] tend to exclude modern contra dances and square dances.
Country dancing is intended for general participation, unlike folk dances such as clogging, which are primarily concert dances, and ballroom dances in which dancers dance with their partners independently of others. Bright, rhythmic and simple, country dances had appeal as a refreshing finale to an evening of stately dances such as the minuet.[13]
Historically, the term contra dance is just another name for a country dance. Howe, in 1858, wrote, "The term "Country Dance" is the one invariably used in all books on dancing that have been published in England during the last three centuries, while all works issued in France within the same period employ the term Contra Dance, or in French "Contre Danse". As the authority is equally good in both cases, either term is therefore correct. The Country or Contra Dance has been one of the most popular amusements in the British Isles, France, and other continental countries from time immemorial".[16] However, "contra dance" is most commonly used today to refer to a specific American genre called contra dance.
History
Village country dance; engraving by Abraham Bosse, 1633
Country dances began to influence courtly dance in the 15th century[17] and became particularly popular at the court of Elizabeth I of England. Many references to country dancing and titles shared with known 17th-century dances appear from this time, though few of these can be shown to refer to English country dance. While some early features resemble the morris dance and other early styles, the influence of the courtly dances of Continental Europe, especially those of Renaissance Italy, may also be seen, and it is probable that English country dance was affected by these at an early date.[18] Little is known of these dances before the mid-17th century.[19]
John Playford's The English Dancing Master (1651) listed over a hundred tunes, each with its own figures. This was enormously popular, reprinted constantly for 80 years and much enlarged. Playford and his successors had a practical monopoly on the publication of dance manuals until 1711, and ceased publishing around 1728. During this period English country dances took a variety of forms including finite sets for two, three and four couples as well as circles and squares.
Lorin's contradanse choreography, one of the earliest western dance notations
The country dance was introduced to the court of Louis XIV of France, where it became known as contredanse, and later to Germany and Italy. André Lorin, who visited the English court in the late 17th century, presented a manuscript of dances in the English manner to Louis XIV on his return to France. In 1706 Raoul Auger Feuillet published his Recüeil de Contredances, a collection of "contredanses anglaises" presented in a simplified form of Beauchamp-Feuillet notation and including some dances invented by the author as well as authentic English dances. This was subsequently translated into English by John Essex and published in England as For the Further Improvement of Dancing.[20]
By the 1720s the term contradanse had come to refer to longways sets divided into groups of three or two couples, which would remain normative until English country dance's eclipse.[21] The earliest French works refer only to the longways form as contradanse,[22] which allowed the false etymology of "a dance in which lines dance opposite one another".[13] The square-set type also had its vogue in France and spread to much of Europe, Russia and North America during the later 18th century as the quadrille[23] and the cotillion. These usually require a group of eight people, a couple along each side. "Les Lanciers", a descendant of the quadrille, and the "Eightsome Reel" are examples of this kind of dance. Dancing in square sets still survives in Ireland, under the name "set dancing" or "figure dancing".
For some time English publishers issued annual collections of these dances in popular pocket-books. Jane Austen, Charles Dickens and Thomas Hardy all loved country dancing and put detailed descriptions into their novels. But the vogue for the waltz and the quadrille ousted the country dance from English ballrooms in the early 19th century, though Scottish country dance remained popular.[13][21]
Influence
The "La Trénis" figure of the Contredanse, an illustration from Le Bon Genre, Paris, 1805
The English country dance and the French contredanse, arriving independently in the American colonies, became the New England contra dance, which experienced a resurgence in the mid-20th century. The quadrille evolved into square dance in the United States while in Ireland it contributed to the development of modern Irish set dance. English country dance in Scotland developed its own flavour and became the separate Scottish country dance. English céilidh is a special case, being a convergence of English, Irish and Scottish forms. In addition certain English country dances survived independently in the popular repertoire. One such is the Virginia Reel, which is almost exactly the same as the "Sir Roger de Coverley".
The contradanza, the Spanish and Spanish-American version of the French contradanse, became an internationally popular style of music and dance in the 18th century. The contradanza was popular in Spain and spread throughout Spanish America during the 18th century, where it took on folkloric forms that still exist in Mexico, Venezuela, Colombia, Peru, Panama and Ecuador. In Cuba during the 19th century the contradanza became an important genre, the ancestor of danzon, mambo and cha cha cha. Haitians fleeing the Haitian Revolution of 1791 brought to the Cuban version a Creole influence and a new syncopation.[24][25]
The Engelska (Swedish for "English") or Danish Engelsk is a 16-bar Scandinavian folk dance in 2 4.[26] Its name comes from the adoption in Scandinavia of English country dances and contra dances in the early 19th century. In Denmark the description "Engelsk" was used for both line and square dances of English origin.[27]
Revival
Country dance, Helenvale, Queensland, Australia, about 1910
Only due to the efforts of Cecil Sharp, Mary Neal and the English Folk Dance and Song Society in the late 19th and early 20th century did a revival take place, so that for some time schoolchildren were taught country dances. In the early 20th century, traditional and historical dances began to be revived in England. Neal, one of the first to do so, was principally known for her work in ritual dances, but Cecil Sharp, in the six volumes of his Country Dance Book, published between 1909 and 1922, attempted to reconstruct English country dance as it was performed at the time of Playford, using the surviving traditional English village dances as a guide, as the manuals defined almost none of the figures described. Sharp and his students were, however, almost wholly concerned with English country dances as found in the early dance manuals:[28] Sharp published 160 dances from the Playford manuals and 16 traditional village country dances. Sharp believed that the Playford dances, especially those with irregular forms, represented the original "folk" form of English country dance and that all later changes in the dance's long history were corruptions.[29] This view is no longer held[by whom?].
The first collection of modern English country dances since the 1820s, Maggot Pie, was published in 1932, though only in the late 20th century did modern compositions become fully accepted.[30] Reconstructions of historical dances and new compositions continue. Interpreters and composers of the 20th century include Douglas and Helen Kennedy, Pat Shaw, Tom Cook, Ken Sheffield, Charles Bolton, Michael Barraclough, Colin Hume, Gary Roodman, and Andrew Shaw.
Contemporary English country dancing at Pinewoods Camp in Massachusetts, U.S.
The modern English country dance community in the United States consists primarily of liberal white professionals.[31]
Baroque dance is dance of the Baroque era, closely linked with Baroque music, theatre, and opera.
Contra dance is a form of folk dancing made up of long lines of couples. It has mixed origins from English country dance, Scottish country dance, and French dance styles in the 17th century. Sometimes described as New England folk dance or Appalachian folk dance, contra dances can be found around the world, but are most common in the United States, Canada, and other Anglophone countries.
An alphabetic list of modern country dance terminology:
Regency dance is the term for historical dances of the period ranging roughly from 1790 to 1825. Some feel that the popular use of the term "Regency dance" is not technically correct, as the actual English Regency lasted only from 1811 until 1820. However, the term "Regency" has been used to refer to a much broader period than the historical Regency for a very long time, particularly in areas such as the history of art and architecture, literature, and clothing. This is because there are consistencies of style over this period which make having a single term useful.
The waltz, meaning "to roll or revolve") is a ballroom and folk dance, normally in triple, performed primarily in closed position.
A square dance is a dance for four couples, or eight dancers in total, arranged in a square, with one couple on each side, facing the middle of the square. Square dances are part of a broad spectrum of dances known by various names: country dances, traditional dances, folk dances, barn dances, ceilidh dances, contra dances, Playford dances, etc. These dances appear in over 100 different formations, of which the Square and the Longways Set are by far the most popular formations.
Scottish country dance (SCD) is the distinctively Scottish form of country dance, itself a form of social dance involving groups of couples of dancers tracing progressive patterns. A dance consists of a sequence of figures. These dances are set to musical forms which come from the Gaelic tradition of Highland Scotland, as do the steps used in performing the dances. Traditionally a figure corresponds to an eight-bar phrase of music.
The music of Dominica includes a variety of genres including all the popular genres of the world. Popular music is widespread, with a number of native Dominican performers gaining national fame in imported genres such as calypso, reggae, soca, kompa, zouk and rock and roll. Dominica's own popular music industry has created a form called bouyon, which combines elements from several styles and has achieved a wide fanbase in Dominica. Groups include WCK, Native musicians in various forms, such as reggae, kadans (Ophelia Marie, and calypso, have also become stars at home and abroad.
Scottish folk music is a genre of folk music that uses forms that are identified as part of the Scottish musical tradition. There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the "Pleugh Song". After the Reformation, the secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings. The first clear reference to the use of the Highland bagpipes mentions their use at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmons, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands. Well-known musicians included the fiddler Pattie Birnie and the piper Habbie Simpson. This tradition continued into the nineteenth century, with major figures such as the fiddlers Niel and his son Nathaniel Gow. There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century. They remained an oral tradition until they were collected as folk songs in the eighteenth century.
A cèilidh or céilí is a traditional Scottish and Irish social gathering. In its most basic form, it simply means a social visit. In contemporary usage, it usually involves dancing and playing Gaelic folk music, either at a home or a larger concert at a social hall or other community gathering place.
The quadrille is a dance that was fashionable in late 18th- and 19th-century Europe and its colonies. The quadrille consists of a chain of four to six contredanses. Latterly the quadrille was frequently danced to a medley of opera melodies.
Historical dance is a term covering a wide variety of Western European-based dance types from the past as they are danced in the present. Today historical dances are danced as performance, for pleasure at themed balls or dance clubs, as historical reenactment, or for musicological or historical research.
Danzón is the official musical genre and dance of Cuba. It is also an active musical form in Mexico and Puerto Rico. Written in 2 4 time, the danzón is a slow, formal partner dance, requiring set footwork around syncopated beats, and incorporating elegant pauses while the couples stand listening to virtuoso instrumental passages, as characteristically played by a charanga or típica ensemble.
Contradanza is the Spanish and Spanish-American version of the contradanse, which was an internationally popular style of music and dance in the 18th century, derived from the English country dance and adopted at the court of France. Contradanza was brought to America and there took on folkloric forms that still exist in Bolivia, Mexico, Venezuela, Colombia, Peru, Panama and Ecuador.
Traditional square dance is a generic American term for any style of American square dance other than modern Western. The term can mean (1) any of the American regional styles that existed before around 1950, when modern Western style began to develop out of a blend of those regional styles, or (2) any style that has survived, or been revived, since around 1950. The term Traditional Square Dance is also used in England to refer to dances collected from villages in the first half of the 20th century.
The cotillion is a social dance, popular in 18th-century Europe and North America. Originally for four couples in square formation, it was a courtly version of an English country dance, the forerunner of the quadrille and, in the United States, the square dance.
Bush dance is a style of dance from Australia, particularly where the music is provided by a bush band. The dances are mainly based on the traditional folk dances of the UK, Ireland and central Europe.
"Masters in This Hall" is a Christmas carol with words written around 1860 by the English poet and artist William Morris to an old French dance tune. The carol is moderately popular around the world but has not entered the canon of most popular carols.
Kontradans or the French-Haitian Contredanse, is creolized dance music formed in the 18th century in the French colony of Saint-Domingue (Haiti) that evolved from the English contra dance, or, which eventually spread throughout the Caribbean, Louisiana, Europe and the rest of the New World from the Creoles of Saint-Domingue.
European dances refers to various dances originating in Europe. Since the Middle Ages, many European dances tend to be refined, as some are based on the court dances of aristocrats.
↑ Aldrich, Elizabeth (1998). "Transition From Renaissance Dance To Baroque Dance". Western Social Dance: An Overview of the Collection. The Library of Congress / American Memory. Archived from the original on 17 December 2007. Retrieved 2007-12-18.
Dover English Country Dancers runs English dances in Dover, DE, USA & presents demonstrations at festivals & historic sites in MD & DE.
Earthly Delights Historic Dance Academy run dance classes and balls in Australia, as well as a Shakespeare Dance & Music Festival, Baroque Dance Weekend, Jane Austen Festival Australia and Yarrangobilly 19th Century Dance Retreat.
Felpham & Middleton Country Dance Club has written a history from 1933–1994, just about one of the oldest extant English Country Dance clubs in England.
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