BASIC INFORMATION
FOR
MODERN ENGLISH COUNTRY DANCE
TABLE OF CONTENTS
BASIC INFORMATION
FOR
MODERN ENGLISH COUNTRY DANCE
I. Definitions and Conventions
2. Longways or longwise or long lines for as many as will:
generally means couple stand across from one another - women in one line, men in the other. The top of the hall is usually where the music and Master or Mistress of Ceremonies is. The women have right shoulder to the top of the hall, the men have left shoulder to the top of the hall. In a "proper" formation all the women are on one side, all the men on the other; in an "improper" formation the 1s change places so that there is an alternating pattern down each line, man woman, man woman on the women's side and woman, man, woman, man on the men's side.
Duple is a two couple dance
Duple minor is a two couple dance done in a longwise set with couples numbered 1s and 2s.
In a duple minor dance you have 1s and 2s in each of the two couple units, with the 1s being closest to the top of the hall. Each repetition of the dance moves the 1s one place down - they remain 1s until they reach the bottom of the line - then they become 2s and work their way back up; similarly when the 2s get to the top they become 1s and work their way down the line. When reaching the bottom of the top the couple waits out one repetition of the dance.
Triple is a three couple dance.
Triple minor is done in a longways set, with couples numbered 1s, 2s and 3s. The 1s move down one place with each repetition of the dance; they keep their number designation until they reach the bottom of the line - when there is only one couple below them they dance with an imaginary 3rd couple and then at the bottom wait out one repetition of the dance. The twos and threes move up one place and their numbers change from two to three, then three to two, with each repetition of the dance. When 2s reach the top they wait out two turns of the dance and then become 1s and work their way down the lines (also known as working their way down the set).
Some dances require only 3 couples or only 4 couples or only 5 couples.
Some dances are done with two couples facing, woman on man's right.
Other formations include:
circles (sometimes a single circle with woman on man's right and sometimes a double circle where men have their backs to the center of the circle facing partners.
Squares (or rounds):
Woman on man's right - one couple has backs to the music - they have one couple standing to their right (at a 90 degree angle - the corner of a square), another couple across from them, and another couple to their left at a 90 degree angle.
use a firm hand grasp, the man (or lower number) palms up and the woman's down. For turns there should be a feeling of equal tension between the dancers, giving weight gently while creating a feeling of support among the dancers (this is also true in circles, hands across and similar moves). Both hands means face and give hands right to left and left to right.
Active dancers are in motion according to the instructions of the dance. Inactive dancers remain in their places on the side of the set until included in the figures of the dance. Inactives may sometimes find it necessary to move to one side or the other to allow active dancers to pass between or around them.
Clockwise
In a ring, move to your left;
in a turn single, turn to your right.
Counterclockwise
The exact opposite of clockwise:
in a ring, move right;
in a turn single, turn to your left.
Neighbor: the person you are standing beside.
Opposite: the person you are facing.
Partner: the person you are dancing with.
Two dancers join right, left, or both hands as indicated, and, giving a little weight, move around one another, usually clockwise in a two hand turn.
Turn single:
A solo turn for one person, usually clockwise, taking four walking steps, and tracing a small circle on the floor (it is not a pivot in place).
Steps should fall on the beat such that all the dancers in a set move together so that all parts of the figures occur at the same time. The number of steps per bar depends on the tempo of the dance - most are two steps to each beat of music, some are three, some are four. Weight should be over the feet; use the body's weight to move through the figures using a light dance step. (When you're walking the feet lead and pull the body along - when dancing the opposite is true). The effect is to float across the floor with a minimum of effort.
A single is a step and a close, from weight on one foot to weight on two feet.
Three steps and a close in duple time; two steps and close in triple time. Generally starts on the right foot. The close is a real step, with weight shifting to that foot, so that the next step is on the other foot: in duple time R-L-R-C-R-L-R-C for up a double & back, R-L-C-L-R-C in triple time.
is used most frequently when ground has to be covered in a limited amount of time; the dancer springs lightly from foot to foot, quietly and easily, knees loose but not bent, feet under the body.
is a modification of the running step in which the spring is scarcely noticeable. The general effect is of a lilting movement which should be sustained even in slow dances.
5. Skipping step is a step hop on alternate feet.
The hop should be small, legs relaxed, without kicking up the heels or prancing.
is a variation of the skipping step. Step forward on the right foot, bring the left to close beside the right, step hop on the right foot. Repeat beginning left foot.
7. Slipping step is a sideways spring to the right or left.
The trailing foot is brought up to the leading foot, takes the weight and the spring is repeated. It is used frequently in circle movements. Chassé is a slipping step to right or left as directed (IE step to the side and bring feet together, repeat).
in ballroom position, partners use the regular waltz step (step, step, close) to dance around another couple. For traveling movements us a long, short, short lilting walking step. The feet should pass each other, but not come to a close.
Setting steps are done either in place or advancing toward or retiring from another person. One "set" is to the right and the left and usually takes two bars. The dancer springs lightly onto right foot, usually to the side, steps onto the left briefly and back onto the right, with a quick change of weight. He movement is then repeated with a spring onto the left foot. A slow set is a step to the right or left and a close, taking one bar. A slow set and honor right (or left) is a step to the right (or left) followed by an honor (a bow for men and a curtsey for women).
(generally begin and end from home position on the sides of the set.
Movements usually begin with the right foot.
Dancers link right arms at elbow, turn once around clockwise, and fall back to places. Arm left is counterclockwise. Arms should be firmly linked, dancers giving each other support in the turn.
Dancers face and move forward to pass right shoulders, step to the right behind each other, and move backwards to place passing left shoulders.
To balance forward, step forward onto the right foot, bring the left forward to close beside the right, then step backward on the left. To balance back, step backward onto the left foot, bring the right to close beside the left, then step forward onto the left. A simple forward and back body movement.
In this move there is a definite change of weight - step back on the right foot, bring the left back beside it, then step forward on the right foot. Stepping forward in this case usually leads right into a traveling figure.
Partners turn away from each other and move outside the set to a new position, the other dancers usually moving up or down as indicated on the last four beats. To cast down in a progressive longways dance, the 1s (or active) couple face up, separate, and move down outside one place. To cast up, the 1s face down, separate and move up outside one place.
Dancers trade places by moving across the set passing right shoulders unless otherwise directed, turn around to the right and end facing each other as before. The movement uses an entire phrase. In some dances (usually triple time) the first part of the change is like a half gypsy with the dancers backing into new places on the last three steps.
Circle three hands (3 dancers), four hands (4 dancers) , six hands (6 dancers) etc. Dancers form a ring by joining hands, a little above waist level and circle to the left once around. If the directions say "and back" dancers circle an equal number of steps to the right back to places. At faster tempos generally a slip step is used. Usually there are eight steps to circle once round; a half circle generally would be four steps.
In duple minors, first corners are the 1st man and 2nd woman. Second corners are 1st woman and 2nd man. In a square or round, the corner is on the man's left or woman's right.
The actives simply go directly across the set to the other side, passing right shoulders unless otherwise directed (usually followed by a movement down the outside or a hey on the opposite side).
A common way for a first couple to move down a longways set. They simply cross over the set passing right shoulders and go down the outside one place (the next couple moving up a little to let them in). Some three couple set dances use first couple cross and cast, cross and cast as a way of getting the top couple to the bottom. Usually danced to a skip change step.
Face and give left to left and right to right.
Cross with another dancer passing right. Cross over one couple is to cross as above and go outside below one couple, ending improper.
Dance backwards.
In longways sets the active dancer passes between the couple below (or above around the dancer and behind the dancer on the opposite side of the set, pass between the same couple again, round and behind the other dancers and return to place. Usually a couple does this simultaneously with the woman moving ahead of her partner. In a half figure of eight the active couple will end in partner's place in the set, usually one place down. Generally one couple dances a figure eight path round another couple.
Starting on right foot, take three steps forward and close (no weight); to fall back, start with the left, take three steps backward and close. In triple time, take two steps and close. Lead or move in the direction you are facing.
Typically in a longways set a working couple leads up round another couple (the posts) and back to where they started. The posts hold nearest hand with the working couple and help them round. In fact the posts should move backwards in a small circle so both dancers move the same distance, pivoting about their joined hands. It is important that the posts give enough weight to make their presence known. Usually this figure takes eight steps.
Dancers face each other and move clockwise 9keeping to the left) completely around one another, facing inward. The movement may be compared to a two hand turn without hands.
Face your partner and pass your partner giving right hands. As you let go of your partner's hand you take the left hand of the person coming towards you, and pass them by the left. Keep on passing right and left alternately until told to stop.
(usually) four people. Diagonally opposite dancers joining right or left hands in a shake-hands position, two pairs making a star. Giving some support, the dancers then move around in the direction they are facing, usually for eight steps.
Three hands across: two dancers join hands, third dancer places his/her hand on top.
(Hey: a weaving figure for 3, 4, 6 or 8 dancers without hands unless otherwise directed, also known as Reels).
the figure is danced up and down, or across the set. The dancers, moving simultaneously, describe a figure eight. No 1 faces Nos 2 and 3; moving slightly to the left, No. 1 passes No 2 by the right shoulder then No. 3 by the left shoulder. Turning left, No. 1 re-enters the set to complete the figure eight with the other dancers (iE No. 1 reverses directions and dances the same pattern back). Making the figure eight as wide as possible is suggested. These can be started with left shoulders.
only half the figure is danced which means the ends have changed places and the middle dancer will dance through an end position and back to the middle.
3. Hey on opposite side, hey on own side:
This is a variation of th hey for three - the 1s hey on the opposite side with the 2s and 3s hey on their own: 1st woman crosses down center to pass 3rd man by the left while 1st man (letting his partner go in front of him) crosses down center to pass 3rd woman by the right. 1st couple finish the hey in top place, improper (iE on wrong sides). To hey on own side they cross again down the center to middle position on their own side while 2s and 3s as before hey on their own sides. For 2s and 3s the pattern is a continuous meeting and separating from partner as in mirror hey below. Variation: 1s change places across the top of the set and begin the hey from the outside, 1st man passing 2nd woman right, 3rd woman left and 1st woman passing 2nd man left and 3rd man right.
when both sides hey together, the figure is often a mirror image:
To start:
1st and 2nd men pass right shoulders,
1st and 2nd woman pass left shoulders
1st couple begins the hey leading down the middle, 2nd couple facing up and separating outside 1st couple (2s bulge out), the 3s leading up the center, the 1s separating around them.
Nos 1 and 2 face, Nos 3 and 4 face. All begin by passing right shoulders, reversing direction at both ends of the hey, turning right and passing right on reentering the figure (once started the pattern is to pass right shoulders on the ends and left shoulders in the middle).
see right and left below except that dancers do not take hands to pass and they weave in a circular track rather than a square.
1s face each other, 2s face 3s who face up - all begin by passing right shoulders and continue all around the set to places (see grand chain above - same figure but without hands)
movement started by two dancers as directed who face each other take right hands, pass by, give left hands to the next, right to the next and so on eventually bringing all dancers into the hey which is continued until all dancers reach their ending places (also sometimes described as a progressive chain)
used in the dance Picking Up Sticks - a weaving track figure around standing dancers. Using a skip step, 1st man, followed by 2nd and 3rd men, crosses above the 1st woman and begins to weave around the standing woman. 1st man passes 2nd woman let and 3rd woman right, 2nd and 3rd men following. When the 3rd man (who is at the end of the line) has passed the 2nd woman, he reverses direction by going completely around her and weaves back, leading the hey up the line, followed by the 1st and 2nd man. When the 2nd man (now at the end of the line) reaches the 2nd woman, he does the same, dancing complete around her and reversing the direction of the hey, followed by the 3rd and the 1st man. When the 1st man becomes the end of the line and reaches the 2nd woman, he does the same, weaves bak up to the top and leads the line in a cast off to his right, around behind the women, across the bottom of the set and up to original place. Then the women to the mirror image.
A courtesy movement. A man bows, simply dropping the torso with the arms relaxed at the sides; a woman brings one foot behind and bends and straightens her knees in a simple curtsey.
Partners or actives take hands, the man or lower number dancer offering palms up, and they move together. All movements begin and end in place at the side of the set. Current practice is to take inside or nearer hands, some dances direct to join right hands.
A common sequence where you notionally have sixteen steps to lead down the inside of the set, and then come back up to where you started and cast round one couple to progress. This can be done by taking six steps down, six steps back up and four steps to cast or it can be done by leading down with eight small steps, turning on the end of the phase of music, and take larger steps going back to use the full phrase for the back up and cast. Another variation is for the lead down to be walked, and the lead back danced to a skip change step, giving more time for the cast.
Men take both hands with partners, arms straight and nearly shoulder high. 1st man takes four steps obliquely forward, pushing partner out of the set, then fall back four steps pulling partner into other couple's place. Simultaneously, 2nd man falls back four steps, pulling partner, then forward into 1st man's place. For a half poussette, stop here; for a full poussette, continue the movement until all are in original places.
Usually danced by two couples who begin by giving right hand to partner, pass by and turn towards neighbor, give let hand to neighbor and pass by (stop here for half right and left) for a full right and left continue with right hand to partner and left hand to neighbor back to place (usually four beats for each pass but can be in three or a quick two) - each pass is called a "change." With a larger number of dancers often called a grand right and left.
partners face, move forward a double bring right shoulder to right shoulder, fall back a double, and repeat to left shoulders.
partners face and change places, each moving slightly to the right diagonally, starting with the right (outside) foot and passing left shoulders. Take two steps forward, turn counterclockwise to face on the third bringing the feet together on the fourth step. Returning, start with the left foot, take two steps to pass, turn clockwise to face, and bring feet together.