Contra dance

Lore & Background

Over time these dances returned to England and were spread and reinterpreted in the United States, where they were alternatively called 'country dances' or in parts of New England such as New Hampshire, 'contradances'. Contra dances were fashionable in the United States and were considered one of the most popular social dances across class lines in the late 18th century, though these events were usually referred to as 'country dances' until the 1780s, when the term contra dance became more common. In the mid-19th century, group dances started to decline in popularity in favor of quadrilles, lancers, and couple dances such as the waltz and polka. By the late 19th century, contras were mostly confined to rural settings. In the 1930s and 1940s, the popularity of jazz, swing and big band music further contributed to the decline of contra dances, especially in urban areas of the US. The contra dance tradition carried on primarily in towns within the northeastern portions of North America, such as Ohio, the Maritime provinces of Canada, and particularly in New England. Ralph Page almost single-handedly maintained the New England tradition throughout the 1930s and 1940s until it was revitalized in the 1950s and 1960s, particularly by Ted Sannella and Dudley Laufman.

Reader's Guide

Contra dance regained popularity in the 1960s as part of the broader American folk music revival, especially among young, counter-cultural dancers in Boston. In the 1970s, Sannella and other callers introduced dance moves from English country dance to the contra dances, and new dances featured symmetrical dancing by all couples. Double progression dances added to the aerobic nature of the dances, and Becket formation was introduced, with partners starting the dance next to each other in the line instead of opposite each other. In the early 1980s, Tod Whittemore started the first Saturday dance in the Peterborough Town House, which remains one of the more popular regional dances. As musicians and callers moved to other locations, they founded contra dances in Michigan, Washington, Oregon, California, Texas and elsewhere. By the mid 2010s, callers and dancers had proposed many alternative gender-free terms such as jets and rubies, leads and follows, larks and ravens, and more. In 2014, the Circle Left dance in Oakland, CA became one of the first contra dances to adopt the terms larks and ravens, with the Berkeley, CA dance following shortly after. More dances across the US adopted these terms regardless of whether they were LGBT-specific dances or not. In 2019, the term raven was widely replaced by robin.

Did You Know?

• Contra dance events are social dances that one can attend without a partner.
• The dance is led by a caller who teaches the sequence of moves, called 'figures,' before the music starts.
• Almost all contra dances are danced to live music, with the fiddle considered the core instrument.

Origins & Historical Journey

Contra dance traces its roots to a cross-pollination of English country dance, Scottish country dance, and French dance styles that began in the 17th century. These dances eventually circled back to England and were carried to the United States, where they were reinterpreted and given local names such as country dances or, in parts of New England like New Hampshire, contradances. By the late 18th century, contra dancing had become one of the most popular social activities across class lines in America. The mid-19th century, however, saw group dances lose ground to quadrilles, lancers, and couple dances like the waltz and polka. The arrival of jazz, swing, and big band music in the 1930s and 1940s accelerated the decline, particularly in urban areas, leaving the tradition largely confined to rural northeastern communities.

Structure & Accessibility

A contra dance event is fundamentally a social gathering where no partner is required upon arrival. Dancers pair up on the floor, and those couples arrange themselves into sets of two, forming long lines that stretch from the stage down the length of the hall. A caller stands at the front, teaching a sequence of moves known as figures before the music begins. A single dance might contain anywhere from six to twelve figures, repeated as couples progress up and down their line, partnering with each adjacent couple in turn. Each pass through the pattern takes exactly 64 beats. What makes contra dance notably approachable is that there is no prescribed footwork; the essence lies in following the pattern with your set and your line. This absence of rigid step requirements means many newcomers find it easier to learn than other social dance forms, and the communal, partner-rotating structure keeps the experience inherently social rather than competitive.

Music & Performance Community

Nearly all contra dances are accompanied by live music, with the fiddle regarded as the central instrument. The repertoire draws from Irish, Scottish, old-time, bluegrass, and French-Canadian folk traditions, though it is not limited to these. Supporting the fiddle, dancers may hear guitar, banjo, bass, mandolin, piano, accordion, flute, clarinet, and other instruments. A single dance can feature one tune or a medley, and key changes mid-dance are common. The performance ecosystem extends well beyond a single evening: many callers and bands play for local dances, while others are hired to travel across the United States and Canada. Dancers themselves travel regionally or nationally to contra dance weekends and week-long camps, where they encounter other dedicated dancers, callers, and musicians. This traveling culture creates a network of shared musical and dance traditions that binds communities across vast distances.

Revival & Modern Innovation

The contra dance tradition survived the 20th century's cultural shifts through dedicated individuals and institutions. The 1960s folk music revival reinvigorated contra dancing, especially among young counter-cultural dancers in Boston. The 1970s brought structural innovation: callers like Ted Sannella imported English country dance moves, new formations like Becket appeared, and double and even quadruple progression dances added aerobic intensity. As musicians and callers relocated, they planted contra dance scenes in Michigan, Washington, Oregon, California, Texas, and beyond.