American Country Dances On-Line

This page is a simple database dump of the database that Russell Owen edited and maintained. No effort has been made to add to his compilation of dances.

I just created an index to this database, and set each dance in its own page. Use the index to find what you want.

24th of October

Editor's Notes:
Based on Steve Schnur's 24th of June.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/19/1997; last revised 3/5/1999; edited by Russell Owen

9 Pin

Editor's Notes:
Collected from Mike Richardson April, 1993

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

AADS Reel

Author's Notes:
This dance is not suitable for crowded conditions.
I wrote this dance on September 20, 1991. The name was modeled after CDS Reel, a contra dance by Ted Sannella (appears in Ted Sannella, "Swing the Next"). I founded the Anglo-American Dance Service (AADS) in the fall of 1990 together with Frieda Van Vlaenderen and Luc Blancke. The AADS is a Belgian country dance society that promotes folk dancing from the British Isles and America.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/4/2000; edited by Russell Owen

Al's Safeway Produce

Author's Notes:
The transition from left hand star to allemande left is especially nice if a New England style (hand on wrist) star is used. This is the only dance I can think of for which I specifically request that type of star in those parts of the country where the default is hands-across.
Unfortunately, the origin of the name is lost in the mists of time. All I can say is that "Al" is not Al Olson, although had I known who he is when I wrote this, it might have been. Composed sometime around 1989.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 9/14/1997; last revised 3/5/1999; edited by Russell Owen

Alamance Express

Author's Notes:
The sides may swing their partner in phrase A.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Almost Back Home Again

Author's Notes:
The movements in A2 result in a horseshoe pattern: dancers go down four in line, drop hands, pass across, join hands again and go up four in line. It should be one continuous, flowing movement. First gent and second lady end the movement by doing a cast off (inside hands already joined); second gent and first lady simply face across.
In B1 the ladies start a hey halfway which is followed by a ladies chain. After courtesy turning their partner, gents roll their partner away so that ladies finish on their left-hand side (left hands still joined). This roll away goes nicely into the ensuing left-hand star. Ladies follow their partner in both of the stars.
In order to re-start the dance with a new neighbor, ladies should turn right, ready to balance and swing.
I wrote this dance on August 18, 1992, and revised it on June 13, 1992. In the summer of 1991, I spent five weeks in the USA and wrote this dance a few days before flying back home.
Ideas from Ocean View Reel, a contra dance by Tony Parkes, and Kit's Contra by Fried de Metz Herman inspired me to the choreography of this smooth-flowing contra.
Tony is a professional New England style caller who lives in Billerica near Boston. The "caller with the velvet voice" provides a unique opportunity for everyone who is interested in a real New England dance experience.
Fried is a transplanted Dutch caller who lives in Larchmont, New York, and teaches English country dancing. She is especially well-known for her ingenious and inventive work as a choreographer. Fried is my favorite "English" choreographer. As a choreographer myself, I can even more appreciate her dances. Both Tony and Fried have called in Belgium.

Editor's Notes:
A timing variation to consider: move the roll away to the start of B2 and giving only 6 counts to the 3/4 star.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 5/25/2002; edited by Russell Owen

Already Taken

Author's Notes:
I wanted a relatively simple dance with a neighbor right & left through in it and this was the result. It owes the end of B2 and all of A1 to Tony Parkes' Spring Fever.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/4/2000; last revised 3/5/2000; edited by Russell Owen

Anne's Visit

Author's Notes:
In order to easily re-start the dance, dancers should let go of hands in time to re-form the lines.
The origin of this dance goes back several years. In November 1982, I realized I didn't have an appropriate dance to use with beginners as a first exposure to contras. At that time, I wanted a flowing sequence (not just a dull drill) in a proper formation to avoid the cross-over at the top and bottom of the set. I then wrote a dance to suit this purpose, but found that it was much too complicated for beginners. After having made several changes, I discussed the topic and exchanged interesting ideas with Anne Tempelmann (Witten, Germany) on April 5, 1987. Four days later, "Anne's Visit" was the final result of a long search.
Although I may not use it any longer as a first exposure to contra dancing, this easy, all-moving routine works well with inexperienced dancers.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/4/2000; edited by Russell Owen

Another Jig Will Do

Editor's Notes:
Tune: any 2-part (16-bar) slip jig, such as "The Peacock Follows the Hen", "Another Jig Will Do" or "A Fig for a Kiss".
See also the dance "The Peacock Follows the Hen".

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Another Trip to Germany

Author's Notes:
After the allemande right with the next in line in B1, the ladies must, helped by the gents, sharply turn right into the circle and give left hand to that neighbor and right to their partner to form the circle... The ensuing circle four brings the gents back to the correct side of the set...
A couple becomes neutral at the end of A2. They rejoin the set at the beginning of B1.
In March 1987 I attended Heiner Fischle's Contra Dance Workshop in Hannover, Germany, with friends Lydia Beyens and Fernand Engels. It was there that I first met Anne Temelmann and Margot Gunzenhauser. We stayed in touch ever since and regularly went to each other's dance activities. Heiner is a Western square dance caller with a definite interest in contras. At his workshop, I picked up some interesting ideas that appear in this dance. The original version, written on March 27 of that year, was revised several times. Two years later, on April 5, 1989, I arrived at this present, satisfying version.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/4/2000; edited by Russell Owen

Anticipation

Editor's Notes:
Variants:
In B2: 1's balance and swing (this is the version in Gems)
In B2: Long lines go forward and back, 1's swing (this is the version I use)
Collected from the author 1989.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Are You 'Most Done?

Author's Notes:
Begun in 1990, finished November, 1992. The title is a line from the sea chanty "Let the Bulgine Run", and is a play on the 7/8 star and long gestation. The dance is better than the title.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Arizona Becket

Author's Notes:
Introduced March 20, 1994 at a callers' workshop in Tuscon.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 5/4/2000; edited by Russell Owen

Asheville Express

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Ashley's Star

Author's Notes:
Repeat figure 3 more times with introduction, middle break and ending of the caller's choice. Composed for the wedding of Larry Edelman and Ashley Faber.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 5/4/2000; edited by Russell Owen

Atonement Reel

Author's Notes:
Written on October 11, 1997 on the way to the North Yarmouth dance. I announced that the dance had no name yet, whereupon David Handwerker reminded me it was the Yom Kippur, "The Day of Atonement". 
This dance borrows the promenade into circular wave balance from "Ted's Mixer" by Ted Sannella.  I wanted the progression to be at the end so there was at least one balance and swing with the original partner.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 5/31/1998; last revised 11/11/1999; edited by Russell Owen

Aurora

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 11/3/1999; edited by Russell Owen

Aw Shucks

Author's Notes:
Written in desperation. Needed more easy dances.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 10/31/1998; last revised 3/5/1999; edited by Russell Owen

Baby Rose, The

Author's Notes:
A few years ago at Pinewoods I called a dance I had just "composed". I was actually trying to teach "The Nice Combination" or "Shades of Shadrack" (both by Gene Hubert), could not make either one work, and just sort of bailed out with this dance. Later that week, at the American Week auction, or whatever week that was, I offered the right to name the dance as an auction item. Richard and Claudia Rose made the highest bid, and since they did not know whether their soon-to-be-born baby would be a boy or a girl, they chose the title "The Baby Rose."
(from email January 29, 1997)

Editor's Notes:
Collected from Luther Black February, 1991.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/18/1997; last revised 3/5/1999; edited by Russell Owen

Backstitch

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 7/8/2001; edited by Russell Owen

Baltimore Breakdown

Author's Notes:
Repeat figure 3 more times with introduction, middle break and ending of the caller's choice. Allemande left in B2 may be omitted if dancers are running late or need more time to end the swing.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 5/4/2000; edited by Russell Owen

Banish Moral Slop

Author's Notes:
This dance was composed for a special benefit event to help preserve for dancing the Spanish Ballroom at Glen Echo, Maryland. If you like your dance halls large, this is one of the best, with old-time charm and splendid decor. The title is an anagram of "Spanish Ballroom".
The roughest part of the dance is to get those right hands free for the Box the Gnat in B2.
Music suggestions: Kitchen Girl, Dinky's Reel.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/4/2000; last revised 7/7/2001; edited by Russell Owen

Bastille Day's Eve

Author's Notes:
Music: Any Reel
This dance was written the day before the two hundredth anniversary of the French revolution. That is the only connection it has with France.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Batja's Breakdown

Author's Notes:
Named after Batja Bell, long-time dancer and folklorist.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/20/1997; last revised 3/5/1999; edited by Russell Owen

Bells of Montague

Author's Notes:
Dancing Tips: If there is no one to chain with on the diagonal, do not chain but wait for the hey. In the hey, the men pass by each other for the second time, the seventh change, into a line of four on the left diagonal. The people involved are the same ones who danced the ladies chain in A1. Men work their way to their partners and finish with an allemande turn. Men have to turn by themselves a little bit more in order to face across. The pass through is done with the couple that is on a slight diagonal right. Once they have passed through they turn to face their partners and swing. Couples resting out at the top should stay as a couple on the caller's left and at the bottom on the caller's right.
Background: After calling the Greenfield, Massachusettes dance, I spent the night at David Kaynor's home in the small community of Montague. David didn't warn me about the church next door. Its bells rang on the half hour throughout the night. No wonder I awoke with this dance in my mind. The tune (in the book), "A-Mary-Cay The Beautiful", is written for Mary Cay Brass who plays piano with David. Composer Mark Simos played off the Irish pronunciation of "America the Beautiful" in his dedication, much to the embarrassment of Greenfield's finest piano player! She made him rename it "Brass's Reel", but I made no such promise!

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/20/1997; last revised 3/5/1999; edited by Russell Owen

Ben's Spinoff #3

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Beneficial Tradition

Author's Notes:
This dance was composed in honor of the Dance Musician's Development Fund annual benefit dance. The title gives a nod to Pat's Tradition, an English country dance for three couples which has a similar gimmick to the one used in B2.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

A Better Blend

Author's Notes:
I was trying to combine elements of Ed Gilmore's "Ends Turn In" with Roger Whynot's "Swing to a Line."
When the heads go in to circle in phrase C the sides are left standing on the "wrong" side of their partner. It is somewhat better if they swap places at this point, but if they don't the dance will still work and eventually fix things nicely.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Birth and Death of a Star, The

Author's Notes:
This dance has some fairly tricky bits, but I think it's worth it. When teaching, make sure the ladies know the the goal in A2 is to cross the set. They have to drop out on their partner's side. In the B2 hey, gents go over and back, ladies just go across the set.
I originally wrote this dance based on a great figure. Imagine A2 with no hands, just eye contact. I called it a Gypsy Star. (The dance was originally called "Eye Candy".) However, without the weight of an allemande it was difficult to get the figure to go fast enough and the timing was thrown off. I think the trick is to construct the figure so that noone has to end up across the set. (See "Gypsy Star" which is the final version of that dance, and, I think, ultimately a better dance than this one.)

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/24/2001; edited by Russell Owen

Blacksburg Express

Author's Notes:
In the rollaways the gent will move the lady on his right side to his left side as he takes her place. It is most helpful to have dancers note the second person they roll away with for future reference. Also it helps much to tell the dancers that the second swing in phrase C is back the other way from that in which you have been progressing on the rollaways.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Blue and White Contra, The

Author's Notes:
In B1 I particularly said forward 6 (ed: changed to "lines of 3") instead of long lines to help the dancers identify the minor sets. If each #1 couple will take a hand on either side, and # 2 and #3 are instructed NOT to take any other hand, they will know which couples are working together for the next call.
At a dance in March of 1987, the decorations and refreshments followed the St. Patrick's Day theme. Nearly everyone present sported something green as part of his attire.

I used a lot of Irish music and dances with names that, at least, sounded Irish, such as All the Way to Galway. Some dances simply had the word "green" in the title.

One of the "regulars" is a lot of fun--has an unending line of jokes, and is always kidding around. He happens to be of the Jewish Persuasion.

After this particular dance, he said to me, "Enough already with this Irish stuff. I want to commission you to write a dance that is to be called "The Blue and White Contra", but I want it to be danced to music that is in jig time."

I told him that with those requirements, I would have to receive twice the usual commission. He readily agreed, because after all, 2x0 is still 0.

Editor's Notes:
I suggest English Country style casts in A1: start by turning your back to the person you are going to dance around. This allows you to take a longer path and so use up the music in a natural and flowing way.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 5/25/2002; edited by Russell Owen

Bob and Laura's 35th

Author's Notes:
For Bob and Laura Stein's 35th Anniversary Party in Lansing, Michigan, December 1993.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/21/2001; edited by Russell Owen

Bob's Befuddlement

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Bob's Triplet #1

Author's Notes:
Composed in February, 1988 as a teaching tool for the figure contra corners. As in the Ted Sannella tradition of numbered triplets, I encourage dancers to cheer wildly when #1 (and only, so far) is announced.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 5/4/2000; edited by Russell Owen

Boomerang

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/25/1999; edited by Russell Owen

Boston Baked Beans

Editor's Notes:
Collected from Sherri Nevins May, 1990

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/14/1997; last revised 3/5/1999; edited by Russell Owen

Brandy's Star

Author's Notes:
In A1, the ladies must decide who goes under and who goes over for the box the gnat. It's usually the shorter going under, but leaving it up to the dancers on the spot adds a little excitement. At the beginning of A2 I remind the dancers not to "over-rotate" the star and the ladies to be ready to start the hey when the gents arrive.
Written on February 21, 1998 over coffee before the Bowdoinham dance. Brandy is Pam Weeks' wonderful pooch (tour dog extrordinaire), the only dog in the world I would spend 2 weeks with in the back of a 15 passenger van!

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 5/31/1998; last revised 11/11/1999; edited by Russell Owen

Brimmer and May Reel

Editor's Notes:
Common variant (also in Zesty Contras):
A1) Neighbors swing (16)
A2) Right and left through (8); 1's swing
The timing in B2 can easily get mushy if the caller is unclear about it. Personally I find the dance much more satisfying if the cast into the circle is done with careful timing.
The Brimmer and May School gym was (and perhaps still is) the site of the Country Dance Society square dance. (Information from Zesty Contras).

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/24/1996; last revised 3/5/1999; edited by Russell Owen

British Sorrow

Editor's Notes:
Customarily danced to the title tune (which is not at all sorrowful, the title being from the American perspective).

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Bus Stop, The

Author's Notes:
This dance was written on the way to call a dance in N. Yarmouth at the Westcustogo Grange. In March, I had been talking with Carol Ormand about a dance called by Sue Rosen at the 8th annual Downeast Country Dance Festival. The dance was "Summer Sunshine" by Paul Balliet. It had a circle L 3/4 to a wave across and it was a really smooth move that Carol admitted she wished she had invented. We figured a star to a wave was a cool move too, but she had only seen a star to a long wave, not a wave across. So this is it.
Scrod Pudding played a set of modern reels for this dance at Bowdoinham town hall on Sept 19: "Don Tremaine's" by Graham Townsend (in D), "Evil Diane" by Sam Bartlett (in A), and "Bus Stop Reel" (in Am) by Anita Anderson. What a great mezmerizing set and it worked so well! Since this dance also grew out of a dance I have been working on since April to commemorate David Kaynor's 50th birthday, and since David is continually threatening to ride the bus to gigs in order to be able to carpool with someone to the NEXT gig, that iced it for me. I figured I had to name the dance "The Bus Stop", just another stop along the way...
The star to a wave goes very smoothly, the women just have to remember to reach left hands across the star, but leave right hands joined with partners to form a wave across with the active man facing down joined by R to active woman, etc.
In B2, courtesy turn after the 1/2 Promenade then flow into a Rollaway with a Half Sashay to change places with partner. This has everyone moving in the correct direction for the L/H star and if the women remember to put their left hands in immediately there is a nice flow into the star, I think!
A possible alternative would be a Partner Balance and swing in B1, but that makes the timing a little more critical in A2.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/11/1999; last revised 11/23/1999; edited by Russell Owen

"By George"

Editor's Notes:
The transition from neighbors swing to a hey with new neighbors is a feature. End the swing facing across. Separate with a gentle push, propelling the ladies to the right and slightly forward and the gents in the opposite direction. This puts everyone in the proper position with the proper momentum to start the hey. Be careful not to send the ladies directly into each other. (Thanks to Mike Richardson for pointing out this feature.)
Collected from Mike Richardson, September, 1997. At the time Mike collected this dance from George it did not have a title. Mike simply calls it "By George".

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/16/1997; last revised 6/24/2001; edited by Russell Owen

Bye, Bye, Baltimore

Author's Notes:
The roll away with a half sashay is most satisfying when it follows a courtesy turn. Dance might have been called Bye, Bye Balto'more. Introduced at Lovely Lane just before my move to North Carolina in August, 1991.

Editor's Notes:
In B2 I prefer taking a full 8 counts for the right and left through followed by 2 counts for the roll away and 6 for the 3/4 star.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/21/2001; edited by Russell Owen

Cal and Irene

Author's Notes:
Composed for Cal and Irene Howard. Eight Boston-area dance series honored the long and tireless contributions of these two folks during Cal and Irene Howard Appreciation Week during 1993.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Carolina Crossing

Author's Notes:
I believe this is the first square where I used the swing to swing transition, a move pioneered by Ted Sannella in a contra dance. I think he would be pleased to know his idea has found its way into square dancing.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Carolina Rollaway

Author's Notes:
After the swing in phrase C you must still be in lines at the sides in order to identify the couple across to do the right and left through with.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Carolina Swing

Author's Notes:
An outstanding dance.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Catch a Falling Star

Editor's Notes:
Turn single left: walk a loop over your left shoulder, ending up where you started. The term is from English Country dancing.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 5/25/2002; edited by Russell Owen

Cedar Street Shuffle

Author's Notes:
Background: For several years I called regularly in Sandpoint, a lake resort in northern Idaho. The Cedar Street Covered Bridge stretches over the river that feeds into the Pend 'Oreille Lake

Editor's Notes:
Giving good weight in the circle in A2 really "makes" the dance.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/4/1997; last revised 3/5/1999; edited by Russell Owen

Centrifugal Hey

Editor's Notes:
I strongly recommend the balance in B1.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Ceylon! See Ya Later

Editor's Notes:
Given to me by Amy Brewer Dec, 1995

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/21/2001; edited by Russell Owen

Chain Ladies Chain

Author's Notes:
Call for gents 1, 2, 3 and 4.
The timing is flexible; there is no one right way to time out the dance.
One could make those lines of four by simply having the heads go out to the right and circle up four, but then the gents would have very little to do.

Editor's Notes:
In the lines of four partners are together and near home. For example the first and third time through (when lines are at the sides) 1's are to the left of the 2's and the 3's are to the left of the 4's. This will happen automatically provided the active gent leads the opposite couple on to the next using his right hand.
So far to our knowledge nobody has taught or called this dance to this particular sets of notes. We hope the information is complete enough to make this possible and we encourage you to try. The editor and author would be grateful for any suggestions you think would be helpful for others.
Collected from Ron Buchanan January, 1997.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/18/1997; last revised 3/5/1999; edited by Russell Owen

Chainsaw Reel

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/9/1997; last revised 3/5/1999; edited by Russell Owen

Chaos in the Cosmos

Author's Notes:
This dance is named for my cat "Chaos", who loves to lie under a patch of Cosmos in the back yard. The orbital theme is intentional. Carol Kippes gets partial credit (or blame) for the name.
This is a simplified version. The original is also worth considering:
A1
2's face out, 1's face in
(8) Neighbors handy-hand allemande 1 1/2 (gent 1 left, lady 1 right)
(8) 2's dosido
A2
(16) Neighbors balance and swing
B1
(8) Long lines go forward and back
(8) 1's swing, end facing up towards current neighbors (gent facing gent, lady facing lady)
B2
(8) Circle left (a GGLL circle)
(8) 1's half figure eight up through the 2's, while the 2's turn to face out
This dance first sprang into my head March 18, 1997, while I was mulling over Larry Jenning's "The Common Tern". B2 is probably from Tony Parkes' "For Those Who Cared" and/or Jim Gregory's "Ice On The Stream".

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/23/1997; last revised 3/5/1999; edited by Russell Owen

Cherokee Shuffle

Author's Notes:
I also use the following variations:
A1: neighbors dosido, circle left
and/or
A2: neighbors balance and swing (no ring)
and/or
B1: gents allemande left 1/2, partners balance and swing (no wave)
"Cherokee Shuffle" sort of fell together at a Petersham dance. Because my cousin Cammy was late, I was calling. The musicians were remarking on the scarcity of opportunities to play the tune. Some dancers overheard this, whereupon the following observation, which I can quote exactly, was made:
"You'll just have to take extra measures."
Extra measures? ...good heavens, there are an extra two measures in each B part of the tune, and...gasp...a BALANCE takes up two measures... The mysteries of creation.
In actuality, it was really just a matter of tinkering with my only other dance composition, which I had thought up for my first Dawn Dance calling slot at the Shriner's Hall in Brattleboro in (I think) 1981:
Improper
A1: neighbors circle left, neighbors dosido
A2: neighbors balance and swing
B1: gents allemande left 1/2, partners swing
B2: right and left through, circle left 3/4, pass through along the line
It worked at 3:00 AM.
(posted to rec.folk-dance October, 1996)
I can not remember when "Cherokee Shuffle" came about, but it was a few years prior to writing "Mary Cay's Reel". Maybe back around 1982 or so.
(from email January 29, 1997)

Editor's Notes:
The tune "Cherokee Shuffle" has an extra four beats in B1 and B2; the instructions include modifications for use with a square tune.
Collected from George Marshall July, 1993.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/18/1997; last revised 3/5/1999; edited by Russell Owen

Chorus Jig

Editor's Notes:
Customarily danced to the title tune. A common modernization is for the 2's to swing during A1.

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Circle to a Circle

Author's Notes:
Phrase D is a Georgia Rang Tang for a circle of eight.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

CJ's Delight

Author's Notes:
Written in 1989 for my first nephew's birth
I use this often as an opening or closing dance and (for the last move) say "Say goodbye to this couple and hello to the next". I've learned it doesn't matter how the couple does it as long as they change places and direction.
This dance works well to all kinds of music and absolute beginners to the most experienced.
With many thanks to Carol Kopp for Marion's Delight which is obviously the dance this variation is from.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/4/2000; edited by Russell Owen

Clueless in Seattle

Author's Notes:
Written in early 1997.

Editor's Notes:
Square through four: neighbors pull by right, partners pull by left, repeat. Basically it is a wrong way right and left grand for four. Teach this move carefully because it goes very quickly (two counts per pull by).
Collected from Mike Schuh and Tony Mates June 2, 1997.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/4/1997; last revised 4/15/2003; edited by Russell Owen

Coal Country Contra

Author's Notes:
Best done at a Midwestern tempo, which is faster than a New England tempo.
For the progression to work well the gents must end the dosido where they began it and to stay there while the ladies cast around them. It helps to have the gents note where they are before teaching the dosido.
Couples who are out should join the line on the right.
Written for the "Coal Country Convention", a clogging and square dance event put on by the Coal Country Cloggers that emphasizes Southern music and dancing.

Editor's Notes:
Collected from Ron Buchanan January, 1997.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/18/1997; last revised 3/5/1999; edited by Russell Owen

Common Tern, The

This dance is from American Country Dances On Line
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Added to database 1/4/1997; last revised 3/5/1999; edited by Russell Owen

Courteous Express

Author's Notes:
The sides must move back into their home spots during phrase C. A full courtesy turn all the way around in phrase D. The gents must hustle a bit to get in position for the courtesy turn.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Crazy Daisy, The

Author's Notes:
This is a successor to the Grand Cascade:
Grand Cascade
First used in Jan. '97.
Corners allemande left
Partners allemande right
Corners courtesy turn
Repeat three more times to get your original partner back.
I only used Grand Cascade a few times and then came up with other stuff I liked better, but you may find it useful. It is fairly foolproof.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 9/9/1997; last revised 3/5/1999; edited by Russell Owen

Crochet Hook, The

This dance is from American Country Dances On Line
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Added to database 5/25/2002; edited by Russell Owen

Cross Trail Express

Author's Notes:
The first allemande of the Georgia Rang Tang is just about half way around. In the promenade the sides must be in front of the heads. I've never mentioned this to the dancers and things managed to come out correctly.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Curly Ques

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/21/2001; edited by Russell Owen

Daddy's Little Girl

Author's Notes:
This is a fairly easy dance that I named in honor of my daughter Carla. It works nicely in medleys.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/16/1997; last revised 3/5/1999; edited by Russell Owen

Daffodil Express

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Dance Gypsy, The

This dance is from American Country Dances On Line
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Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Dancing and the Road to Hell

Author's Notes:
There are two potential trouble spots -- both involve the circle left or right once and a quarter. To circle this much in only 8 beats requires good weight in the circle and firm, bent elbows. However, each of the moves immediately following these circles has a bit of slack built into them, so that the circles really don't seem too frenetic. In fact, the transition from the circle right 1 1/4 to a chain is actually rather nice.
The title for this dance came from an odd little book I found in Powell's bookstore in Portland, OR called "Dancing and the Road to Hell". It was written in the 30's by a fundamentalist Christian who owned, of all things, a large and luxurious dance hall in Portland. The book was self-published by the author, who tends to rant and rave a bit. The main message of the book seems to be that one should only dance at the author's dance hall. Presumably, if one were to go dancing at roadhouses or other iniquitous dance halls, they would lead one down the road to hell.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Dancing with Amy

Author's Notes:
Many years ago I met Amy Richardson at a Brattleboro Dawn Dance. We danced Rory O'More together (yeah, THAT many years ago!) and Amy said "I'll be up there on that stage playing fiddle soon".) I said that I hope to be up there calling and playing too. All that has come true. Yay! In the winter of 2001 I called a dance and played bass with Amy and Roberta Sutter at Dover, NH, City Hall. I wrote this dance outside the Indian Restaurant before the dance.
The dance uses the "progression" in Gene Hubert's "The Dance Gypsy", but the hook in this dance is the star to long wave figure. The Rory O'More figure is ALWAYS done with the same people (i.e.: Partner, Shadow #1 and Shadow #2).

This dance is from American Country Dances On Line
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Added to database 12/16/2002; edited by Russell Owen

Dandelion Express

Author's Notes:
Sort of a "Kimmswick Express" with an extra swing. Contra dancers need to be warned that there is only one balance in the ocean wave.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Delphiniums and Daisies

Author's Notes:
I wrote this dance and couldn't get it to work out. A few years later in 1985, I tried again, and this time it came out great. I dedicated the dance to my parent's 20th wedding anniversary. The flowers they had at their wedding were delphiniums and daisies, which explains the name. I started working on this dance again when my father wanted to start calling contras and asked me for a dance which was easy enough for beginners, but not boring for more experienced dancers. I couldn't find any in my repertoire, so I dragged this one back out and fixed it up for him.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 7/30/2001; last revised 8/1/2001; edited by Russell Owen

Diagonal Dilemma, The

This dance is from American Country Dances On Line
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Added to database 11/17/1996; last revised 11/3/1999; edited by Russell Owen

Do Ron Ron

Author's Notes:
Written for Ron Buchanan using his Hey-Mania move, and he fixed it so it worked.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 2/1/1997; last revised 3/5/1999; edited by Russell Owen

Dosido and Star Break

Author's Notes:
B is boilerplate; modify as needed to suit the main figure.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/16/1997; last revised 3/5/1999; edited by Russell Owen

Double Dreydl

Author's Notes:
I wrote the dance during Chanukah. The title may be interpreted as referring to the two swings, or the two circles, since both figures go around like a top.
The magic moment in this dance is the transition from the 2s casting counterclockwise (left), flowing into the circle right. Each woman should assist this by pulling her partner into the circle right; dancers are used to the man pulling the woman into a circle left, but he can't gracefully push her into the circle right. Many contras have figures that are particularly fun for the 1s; the cast in "Double Dreydl" gives the 2s a special bonus.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/23/2002; edited by Russell Owen

Double Hot Fudge

Author's Notes:
Written as a wedding gift to my friends Connie Rinaldo and Gary Nielsen.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/5/1997; last revised 3/2/2002; edited by Russell Owen

Double Hot Fudge Upside-Down

Author's Notes:
A variant of Double Hot Fudge.
A1: The star more often gets fully once around for the Act swing. (Daggone lazy dancers can't circle fast enough sometimes. The result of the slow circle is a truncated partner swing.) I also like the RH Star to swing transition better than The Circle L to swing transition because the circle/swing transition is "wrong-handed." I like circle/swing when Woman is on left, Man on right. I don't like it as well the other way -- though it can be done nicely enough.
There are a couple of nice ways to execute the Star/swing transition. My general-purpose favorite is for the man to reach into the star with his left hand and lift his partner's R hand from his wrist. Then, with a gentle tug from the participants, there's a great transition to the swing. That's why wrist-hold star is preferred. (I know there are those don't like 'em much).
A2: The balance is optional. Balance and swing is easier. But when skilled dancers do the consecutive swings nicely, it's a fabulous transition.
B1: I think the ring breaks the best if everyone turns toward partner when that happens. The transition from the circle to allemande L New N is great! It's more adventurous than the star/ allemande transition of the original, and similar to a transition sometimes found in squares.
B2: Starting a hey for 4 from an allemande on the side of the set (if the speed is right!) is the most natural-feeling transition into a hey, I think.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 2/24/2002; last revised 3/2/2002; edited by Russell Owen

Down and Out

This dance is from American Country Dances On Line
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Added to database 3/9/1997; last revised 3/5/1999; edited by Russell Owen

E.J.M.J.F. in Cincinnati

Author's Notes:
Written on the Sunday morning of Cincinnati's March 1991 Pigtown Fling dance weekend.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/20/1997; last revised 3/5/1999; edited by Russell Owen

Early Autumn Express

Author's Notes:
Composed in Sept. '85 and originally published in "Dizzy Dances Volume II" in 1986. This dance was the seed for many that came later. The differences between this and the originally published version reflect the evolution of my approach to square dancing during the period.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Ease About Mixer

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Eggbeater, The

Author's Notes:
The eggbeater figure is a "while" figure. That is, some folks are doing one thing while others are simultaneously doing another. In this case the men allemand right while the women allemand left. Timing is critical here so that the two allemands "interleave" and don't crash into one another. The allemands go around until partners meet for the second time. This is a little more than once and a half for the women and nearly twice for the men. Dancers should be asked to pay attention to the phrasing of the music so that the allemands start at the right time (there is PLENTY of time to do the left hand star in 8 beats!)
The partner balance and swing ends with the sets staggered a bit so the half promenade goes straight across the set ("through the gap"). the dancers should be reminded at this point, however, that they are still dancing with the same couple.
The Eggbeater was written Jan 25, 2002 before the Dancing CAT dance in Kittery, Maine. I had used the eggbeater figure before in my dances "L'Atterrissage" and "Bow Woman's Big Move", but this dance was designed to "highlight" the figure. The dance DOES require a little extra room along the set, so dancers should be DISCOURAGED from tightly packing the lines!

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/16/2002; edited by Russell Owen

Eight Chain Express

Author's Notes:
Dancers should all be oriented along a line through the sides of the set in phrase C. Once dancers get the orientation figured out the rest of the dance is thoroughly easy.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Emptied Crack, The

Author's Notes:
Many dances are not quite danced the way callers teach or call them. They require extra moves "between the cracks" to make some transitions work. A preliminary version of this dance was identical to the final version except for eight counts:
A2 (8) Same neighbors allemande left 1 1/2...
To flow gracefully from a swing to an allemande left requires the lady to spin. The final version of the dance eliminated the need for this spin, emptying the crack.
(Notes paraphrased by the editor)

Editor's Notes:
Collected from Marlin Prowell October, 1994

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/14/1997; last revised 3/5/1999; edited by Russell Owen

Enid's Delight

Author's Notes:
When reaching the end of the set, dancers should continue around he top or bottom into the other line. It is helpful to point out that the right hands across is done with those people you have been dancing with before in that round.
This no-swing contra is recommended as a more sedate number between strenuous dances, one with ah flow that dancers enjoy.
In July 1985 I was given a scholarship by the Lloyd Shaw Foundation. I attended the Rocky Mountain Dance Roundup at Granby, Colarado, where I met Enid Cocke, Lloyd Shaw's granddaughter and president of the Lloyd Shaw Foundation. She is a delightful person and the most elegant round dancer I have ever seen in my life. In this dance written for her on July 17, 1985, I tried to capture that elegance in the nutshell of a contra. We were lucky to have her teaching some of her favorite round dances in Belgium at the AADS Whitsun Dance Weekend June 1992. You haven't round danced until you have waltzed with Enid! One year later, in 1986, when I visited the USA for the second time, I met with Judi and Glen Morningstar (White Lake, Michigan) at Berea (Kentucky), there the three of us were on staff at Kentucky Summer Dance School. We struck up an immediate friendship and have been in touch ever since. Glen and Judi also performed for the Belgian dancers in August 1989. I requested Judi to write a tune that would go with this dance. On November 10, 1986, she composed the tune which bears the same title as the dance and which as been recorded on the Lloyd Shaw label.
Enid's Delight was my first workable dances. To quote Tony Parkes: "It was beginner's luck!". I still consider it as one of my better efforts. It has been used by a wide range of callers and has been published before in "Everybody Swing", in "Designer Music" by Judàche (with the tune), in Don Armstrong's "Dance Workbook", and in some magazines.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/4/2000; edited by Russell Owen

Equal Opportunity

Author's Notes:
This dance was written following a wonderful experience at the 1992 Santa Barbara Sprung Floor Weekend. I was dancing down the hall with a good friend from Berkeley, and when we turned around to dance back up the hall (NOT crossed over, naturally!), I experienced the joy of chaining into a hey from the ladies perspective. It's a beautiful thing, a joy that gents rarely get a chance to appreciate. This dance was written to allow gents to experience that pleasure.
Although this appears to be a difficult dance, I have found that it works well with a beginner to intermediate crowd, while pleasing the experienced dancers with its quirkiness.
The March, 1993 revision was by James Hutson

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/9/1997; last revised 3/5/1999; edited by Russell Owen

Eric's Date on the Bay

Author's Notes:
Written in honor of the marriage of BACDS president Eric Black to Alison Date, which took place on San Francisco Bay while sailing under the Golden Gate Bridge.
Inspired by Tony Parkes' "Glen Echo Reel" and Gene Hubert's "Centrifugal Hey."

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/24/1996; last revised 1/7/2000; edited by Russell Owen

Escape from Los Angeles

Author's Notes:
Written for the 4th Saturday Los Angeles Halloween Dance in October 1996, and intended to accompany my costume -- an escaped convict. Right after I called the dance I gave the microphone to the other caller and took off.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/13/1997; last revised 3/5/1999; edited by Russell Owen

Fairport Harbor

Author's Notes:
During the pass through, have the men walk ahead of their partner. This improves the transition into the swing.
The idea to progress in a promenade came from Gene Hubert's dance, "Gang of Four." I first called this at the 1993(?) "Balance and Swim," a favorite dance party thrown by Charlotte and Rich Cobos in West Virginia.

Fairport Harbor lies east of Cleveland along Lake Erie.

Editor's Notes:
Teaching tip (especially helpful for less experienced dancers): while dancers are swinging their new neighbor, mention that if you have your partner then you are about to be out. Otherwise such couples may attempt to join the ladies chain.
Calling tip: remind the dancers who are out to join the promenade. It can be difficult to recover if a couple forgets.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 7/6/1998; last revised 3/2/2002; edited by Russell Owen

Familjewalsen (Norwegian Family Waltz)

Editor's Notes:
Gents start on left foot, ladies on right (hence one begins by moving towards one's corner). For the waltz the gent guides his corner (lady on the left) into ballroom position on the first three counts, they waltz one complete turn in six counts, and the gent guides the lady out to his right on the last three counts.
The music should be at a moderate tempo so there is sufficient time to enjoy the balances.
A waltz tune of 64 bars will be eight times through the dance.
Collected from Gordon Tracey

This dance is from American Country Dances On Line
Added to database 6/4/1997; last revised 3/5/1999; edited by Russell Owen

Family Waltz

Editor's Notes:
Gents start on left foot, ladies on right (hence one begins by moving towards one's corner). For the roll away gents roll the lady on the left (corner) to the right, trading places with her. Acknowledge corner and partner during the balances, and make the roll away graceful with plenty of eye contact.
The music should be at a moderate tempo so there is sufficient time to enjoy the balances.
A waltz tune of 64 bars will be two times through the dance.
Collected from Gordon Tracey, with help remembering from Lars Saxegaard and Art Hare.

This dance is from American Country Dances On Line
Added to database 10/31/1998; last revised 3/5/1999; edited by Russell Owen

Fast Living

Author's Notes:
The best way I have found to orient the dancers for the hey is to tell them before beginning the walkthrough that they have a trail buddy -- the person of the same sex in their line of four. When teaching the ladies chain, I tell dancers to end the courtesy turn facing their trail buddy. Trail buddies will always pass each other in the middle of the hey. Watch for gentlemen to be disoriented at the start of the B2.
The title of the dance grew from the fact that there were intially two versions of this dance, one of which included a gypsy. So I called this version "Easy Living" and the one with the gypsy "Fast Living" (both are titles of jazz songs). But I discovered that Al Olson had already composed a dance called "Easy Living", and I decided that the version with the gypsy didn't work too well. So I gave the leftover dance the leftover title.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/15/1997; last revised 9/19/2001; edited by Russell Owen

Festival Express

Author's Notes:
The first part of this dance is based on Tony Parkes' dance "Festival Square."
A very strange thing happens with the progression in this dance. Do A - E as above with the head couples active. Then start the pattern at phrase A with the sides active. At the end of phrase C everyone will get their partner back for the swing. At that point you may promenade home. Because of the unusual progression do the pattern as H-S-S-H.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Fickle Finger of Fate

Editor's Notes:
In an outstanding case of parallel evolution, this dance is identical to Mark Richardson's "Fidgety Feet", as found in "Midwest Folklore and Other Dances", ed. by Eric Orace Johnson and Michael Fuerst.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/21/1997; last revised 6/27/2002; edited by Russell Owen

First Fling of Fall

Author's Notes:
Essentially stolen from "Last Swing of Summer".

Editor's Notes:
Requires extra room along the line for the ladies chain. In A2 Marlin Prowell suggests turning out and taking outside hands with your partner as you turn into the swing.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/14/1997; last revised 3/5/1999; edited by Russell Owen

First Night Quadrille

Author's Notes:
Repeat for side couples, all four ladies, all four gents. The transition from star to grand right and left is a challenge for beginning square dancers and provides an opportunity for the "team" to be successful. Introduction and ending are caller's choice.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 5/4/2000; edited by Russell Owen

Flirting with Bobbie Jo

Author's Notes:
The band wanted to play a 3 part tune. I took the inimitable "Flirtation Reel" by Tony Parkes, and shoehorned on contra corners.
For experienced dancers, it's an easy dance. I only call it when I'm sure of my crowd.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/3/1999; last revised 11/11/1999; edited by Russell Owen

Four and More

Author's Notes:
I call Rory O'More at our regular dances only occasionally, because I consider it boring for the inactives, and the lines are too long to give everyone a chance to be active. This is my attempt to create an even dance where everyone gets to do the balances (and optional osculation) with their partners and to include swings with both partners and opposites.
As in Rory O'More, the balances in B1 are always to your partner first, to make it easier to pull into the "slides." Experienced dancers familiar with Rory O'More will probably substitute twirls for the slides.
The balances in B2, however, should definitely be forward and back to pull you through at the end of the dance to swing the next.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/24/1996; last revised 3/21/2001; edited by Russell Owen

Frederick Contra

Author's Notes:
The dance is interesting for experienced dancers, and not too difficult for beginners. The hardest part of the dance is finding the next to dance with, after the neighbor swing.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/20/1997; last revised 3/5/1999; edited by Russell Owen

Friends in Pennsylvania

Author's Notes:
Written while driving west on I80 in PA (a loooong road), and debuted at the Locust Lane dance in Harrisburg in Oct. 2000.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 5/25/2002; edited by Russell Owen

Fruit Harvest Reel

Author's Notes:
Fruit Harvest Reel is a dance I wrote (cobbled together really) for Dave Kirk & Shelly Jenkins' wedding in August 1984. A touring caller from the East collected the dance from them and calls it from time to time (I thank him for the proper acknowledgement). There are probably a few variants, but it ends up being within a figure (or so) of Tony Parkes' For Those Who Cared.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 2/24/2002; last revised 2/25/2002; edited by Russell Owen

Golden Thread, The

Author's Notes:
When Lloyd Shaw instructed, he told the dancers to imagine a golden thread attached to their breastbones and leading up towards Heaven. By allowing their chests to be drawn up by this thread, they were assured of maintaining good posture while dancing.

Editor's Notes:
These notes are paraphrased from the author's dance description:
Suggested timing in A2:
(6) 1st gent goes down the outside 2 places while 1st lady goes down the center
(2) 1's pass through the line (below the 2's)
(8) 1st gent come up the center while 1st lady come up the outside
B1 begins with: 1's cast (unassisted) to a position outside the set and take hands with the 2's and 3's, who turn to face during the 1's cast
In B2 the allemande should be wide and open; use all of the music

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/24/2001; edited by Russell Owen

Good Friday

Author's Notes:
This dance was written for the second Friday East Bay contra dance. It is intended to be a more "equal" variation of the classic dance "Rory O'More", providing lots of action while building on tradition.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/9/1997; last revised 3/21/2001; edited by Russell Owen

Grand Slam, The

Author's Notes:
I first started using this in mid 1996. I first called this break a progressive right and left grand but decided it deserved a better name. A very exciting break, but it can be disorienting. As with any variation on a right and left grand, dancers should first be comfortable with a basic right and left grand before using.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 9/9/1997; last revised 3/5/1999; edited by Russell Owen

Gypsy Star

Author's Notes:
The move in B1 is called a Gypsy Star. I sometimes teach it by doing the whole thing first with right hand allemandes and a right handshake star, then say, "OK, now the move is just like that, except instead of holding hands, you hold eyeballs." It helps to reinforce in B1 that everyone ends up right where they started. Though the choreography should work, in practice B1 sometimes takes a little more than 16 beats, but the next move is forgiving of being late. It may help to clarify that this is a same-gender gypsy.
This dance has a very early progression, so I usually walk it through an odd number of times so the top couple is out to start.
I originally wrote a dance called "Eye Candy" with a gypsy star in which the ladies go 2 1/2 times around and end up on the other side. That didn't work very well, and I rewrote it twice, once with a handhold star (The Birth and Death of a Star) and once with a Gypsy Star (this dance).

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/24/2001; last revised 6/25/2001; edited by Russell Owen

Half Century Hey

Author's Notes:
Composed in celebration of Peggy Myers' 50th Birthday, November 16, 1996

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/24/1996; last revised 5/4/2000; edited by Russell Owen

Halliehurst

Author's Notes:
Any doubts I had about this dance were erased after I had a chance to dance it once. This has got to be one of the smoothest dances I have seen in a long while and which you must experience to fully appreciate. My goal in writing this dance was to create a Becket formation dance with both a partner swing and a neighbor swing. Halliehurst is a splendid old mansion on the grounds of Davis & Elkins College in Elkins, West Virginia on whose front porch many impromptu contra dances have taken place.

Editor's Notes:
In A1 at the end of the two allemandes the gents are in the middle, the 1's are facing down and the 2's are facing up.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Harmony Supper Line, The

Author's Notes:
The San Francisco Folk Music Club marks the New Year with an annual music camp held at Camps Campbell and Harmon, redubbed "Camp Harmony" for the occasion. I wrote this dance and "The Harmony Supper Table" one evening during the 1986/87 camp.
The first half is lifted from Steve Zakon's "With Thanks to The Dean" (see Ted Sannella's book "Swing The Next" for directions and background information on Steve's dance, including Ted's revision of Steve's original version of the A2 part).

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/19/1997; last revised 3/5/1999; edited by Russell Owen

Harmony Supper Table, The

Author's Notes:
The San Francisco Folk Music Club marks the New Year with an annual music camp held at Camps Campbell and Harmon, redubbed "Camp Harmony" for the occasion. I wrote this dance and "The Harmony Supper Line" in the dining hall one evening during the 1986/87 camp.
I used the first half of Kirston Koths' dance "Triskaidekaphobia," but replaced the second half (a variant of Fred Field's "Symmetrical Force") with simpler figures. The last time through, I usually call B2 as:
(4) Pass through across the set
(12) Partners swing

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/19/1997; last revised 3/5/1999; edited by Russell Owen

Hartmann Reel, The

Author's Notes:
The gentlemen chain in this dance is done exactly like a ladies chain with the gentlemen taking the ladies part (i.e. gentlemen start on ladies right, they give right hand to each other, pull by and give left to their partner who gives them a courtesy turn). I find that this dance provides a good opportunity to let the men experience the other side of twirling in a chain. When I teach the ladies chain, I always point out that the lady is the one that makes the decision to twirl. The gentleman can offer by raising her hand, but the lady decides by allowing her hand to be raised. In this dance the roles are reversed for the first chain.
This dance was named for my good friends Gar and Rita Hartmann who have done a great deal to build community spirit at the Smithtown, Long Island Contradance.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/16/1997; last revised 3/5/1999; edited by Russell Owen

Haw River Express

Author's Notes:
One of the easier dances in this collection.
For the splitting in phrase A you can do a gating figure or the splittees can arch and only the splitters will drop hands with partner and then dive through. In phrase B your neighbor is the person on the man's left/woman's right.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Hay in the Barn

Author's Notes:
This is a fairly easy dance. The only thing dancers have to remember is if they meet their partner at the end of the half hey, they balance and swing their partner, if they meet someone who is not their partner then they look for someone new to balance and swing.

Editor's Notes:
Collected from Lisa Greenleaf, September, 1995.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 9/28/1997; last revised 3/5/1999; edited by Russell Owen

Heady Stuff

Author's Notes:
Written for the tune Heddon's Mouth, by Paul Elliot, which has a cool minor B section for the hey. Any AABCC 40 bar tune will probably do.
Paul played the tune for me and said "but of course you couldn't use that for a contradance because of the extra B part, but I can't take it out because it's an important part of the tune". So I wrote this dance.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 2/15/1998; last revised 3/5/1999; edited by Russell Owen

Heat Index Express

Author's Notes:
As a variation the ladies can right-hand star 1/2 in phrase A. This will result in a shorter promenade.
Composed in June or July '95.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Here's to 40 More

Author's Notes:
Requires a 2 part slip jig, like Boys of Ballisodare or Drops of Brandy.
Written for Russell Owen on the occasion of his 40th birthday.

Editor's Notes:
Forward and back can be challenging in slip jig time, as some dancers may take 4 steps and wrench their neighbors. I suggest teaching this as two steps forward and bring feet together, etc.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 2/10/2001; last revised 2/18/2001; edited by Russell Owen

Here's To The Ladies

Editor's Notes:
To form the initial lines, have the 2's cross over (rather than the 1's), then circle left 1/4. Or line up in Becket formation and ignore the fact that the ladies will end up to the left of their partner.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Here's to the Men

Author's Notes:
The gents really like this dance because they they don't have to rush to finish the hey.
I always teach the ladies how to courtesy turn. The ladies need to be taught to back up and to escort the gents around.
Written in late 1996.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/7/1997; last revised 3/5/1999; edited by Russell Owen

Hey Man

Author's Notes:
Becky Hill coined the term "slice left" to describe and call this fun progression. Partners continue to hold inside hands and face left. Take 3 steps towards a new couple. With the available hands, push off with the other couple. Walk straight back, and face this new couple in progressed position.
Dances of all levels enjoy this dance.
Many callers change the dance, and have the women take the lead in A1 every other time through the music. To make this change, simply substitute ladies for gents in A1 and A2. For most crowds, I like to surprise them with the women's version after about 5 times through the dance. I then alternate between the man and women dosido in A1. A caller may wish to teach both the men's and women's version during the walk through.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 2/8/1999; last revised 3/5/1999; edited by Russell Owen

Heymania

Author's Notes:
This dance requires a marathon teaching session, so reserve it for a workshop at a dance camp or a similar venue.
To teach the grand hey, walk it through three times. First walk it slowly using hands (left-hand star 1/2 in the middle, allemande right 1/2...). Next walk it through slowly without hands. Finally walk through it up to speed without hands.
Walk the whole dance through twice, first for the heads, then for the sides. The second time omit the simple heys for four (e.g. just say "pshht; you heyed"). When you get to the grand hey the second time note that everybody is right where they were the first time (whew!), then walk it through to cement it.
Kathy Anderson suggests using a chorus that involves one's right-hand lady (there is no interaction, otherwise). Ron suggests using a simple chorus to give the dancers a rest.

Editor's Notes:
The moves are divided to clarify the sequence rather than to match the music.
Needless to say, this is a difficult dance to put into writing. So far to our knowledge nobody has taught or called this dance to this particular sets of notes. We hope the information is complete enough to make this possible and we encourage you to try. The editor and author would be grateful for any suggestions you think would be helpful for others.
Collected from Ron Buchanan January, 1997.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/9/1997; last revised 3/5/1999; edited by Russell Owen

Heystack

Editor's Notes:
Collected from Dave Smith, February, 1996

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

"Hickman's Hey"

Editor's Notes:
This wonderful dance was collected by Steve Hickman, who unfortunately did not get the title or author. It has been circulating for many years now with no word on who wrote it, and I feel it might be considered in the public domain. If the author surfaces I will get permission to serve the dance or withdraw it.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 10/31/1998; last revised 3/5/1999; edited by Russell Owen

Hints of Harmony

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Hobbit, The

Author's Notes:
The subtitle of The Hobbit is "There and Back Again"

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 5/25/2002; edited by Russell Owen

Honey Run

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Honor Among Thieves

Author's Notes:
"Honor Among Thieves" underlines the borrowing or "stealing" that goes with composing "new" dances. Originally I had been thinking about incorporating old-time square dance moves into contra dancing because of the popularity of squares in the Northwest. In a 1982 visit with Ted Sannella, I asked him about his newest dances. He gave me "New Friendship Reel" which used "lady around two." Feeling somewhat miffed that a New Englander had beaten me to the punch, I wrote a dance using the move more in the context that it was used in Northwest square dancing. Ignoring Ted's sage advice about never calling a new dance without first dancing it, I tried what I called "The G-Note Reel" at Tod Whittemore's Cambridge dance the next night. It met with mixed success. Tod then revised it, with the new version including the circles (see the 1982 version below). Upon hearing the story, Peter Barnes came up with the name "Honor Among Thieves". In 1986, I further revised the dance, borrowing from the popular sequence of the circle into a swing. Ironically, this sequence was the one Ted had used in his dance but that I had changed. The traditional tune, "Wind That Shakes The Barley" (in the book) works well with the dance and can be played ABAB rather than AABB.
Honor Among Thieves (1982 version)
Improper
A1
(8) Circle left
(8) Circle right
A2
(8) Neighbors dosido
(8) Neighbors allemande right 1 1/2
B1
(8) Lady 1 around two and the gent falls through
(8) Gent 1 around two and the lady falls through
B2
(16) 1's swing

Editor's Notes:
It is usually necessary to demonstrate "lady around two and the gent falls through". This is a chase figure. At the beginning of A2 the 1's are progressed, lady 1 facing out, gent 1 looking at her back. Lady 1 goes clockwise around the 2's, ending in her partner's place facing across. Gent 1 follows her, but when he is about half way around, above the 2's, he goes down between them ("falls through") and into in his partner's place, facing out. The 1's have exactly traded places. The figure is then repeated with gent 1 in the lead.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/20/1997; last revised 3/5/1999; edited by Russell Owen

Hull's Victory

Editor's Notes:
Customarily danced to the title tune. The timing in A1 and A2 is very tight and being late spoils the dance.

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Hussy Bride, The

Author's Notes:
This dance was finished in October, 1999 and dedicated to Barbara Groh, a wonderful dancer and caller from Asheville, North Carolina, on the occasion of her marriage.
A possible alternative in A2 would be for the women to allemand left once around after the second balance. This would propel the women toward their partners for a partner balance and swing in B1.

Editor's Notes:
Getting the ladies to let go in time in A1 may prove challenging, especially for beginners. That is only speculation as I've not yet called this dance.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/16/2002; edited by Russell Owen

In Paul's Honor

Author's Notes:
Written for Paul Kotapish

Editor's Notes:
Requires plenty of room along the line.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/18/2001; last revised 3/21/2001; edited by Russell Owen

Ins and Outs of Contra

Author's Notes:
This is my first dance. I wrote it before Christmas, 1994 and modified it over the next few months. Thanks to Erik Hoffman, Laura Mé Smith, Nelson Beavington and all who attended the Slugs at Sunrise callers workshop in February of 1995 for helping me put the fininshing touches on this dance.
The second half of A1 is a move I call "Ins and Outs". I like the move and find it lends itself to many situations. It's good for getting the 1's alone in the center for a swing. I haven't written any other dances with it yet, but I plan to.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 8/9/1998; last revised 3/5/1999; edited by Russell Owen

Inverted Express

Author's Notes:
The sides may swing their partner in phrase B. This is a little weird. At the end of phrase D the heads are home except for being in their partner's position. So why not just do the allemande left with your partner's corner? Of course the sides will be doing it with their corner's partner.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Is It Proper?

Author's Notes:
The modern square dance figure "tag the line" involves the four dancers in line turning individually to face the center point of the line (>><<). each taking a small step to the left, they "double" pass thru passing right shoulders (go by two sets of shoulders) and face up the hall. This inverts the line from W2,M1,W1,M2 going down the hall, to W1,M2,W2,M1 coming back. It's not necessary to have active couples cross over before the start. A dancer's question provided the title.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 5/4/2000; edited by Russell Owen

Jacki's Favorite

Editor's Notes:
Helpful hint to the dancers: after you pull by if there are four of you then circle left; if there are just two of you then swing.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/4/1997; last revised 3/5/1999; edited by Russell Owen

January Express

Author's Notes:
The first allemande of the Georgia Rang Tang is just about half way around. In the promenade the sides must be in front of the heads. I've never mentioned this to the dancers and things managed to come out correctly.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Jed's Reel

Author's Notes:
Background: The sequence in A2 came from Michael McKernan's "Daybreak Reel". "Jed's Reel" has been adapted by others. My favorite, "Edna's Reel"by Walter Lenk, allows the women the same fun as the men by changing the A parts of the dance as follows: A1 Neighbors swing (8), Promonade across (8) A2 Ladies balance (4) Ladies dosido (6) Ladies allemande right 1 1/2 (6). The rest of the dance is the same as "Jed's Reel". About half way through "Jed's" I will call "Edna's" and then return to "Jed's" for the last few times through. Jed is my nephew and was born on the day I first called this dance.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/5/1997; last revised 3/5/1999; edited by Russell Owen

Jelly Rolls

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Joined at the Hip

Author's Notes:
Dedicated to Kip. I invented the linked star promonade and the star into star promonade figures, only to find another dance using linked star promonades a month or so later.
Ladies may spin right out of the star into the star promonade. I'm not yet sure if this is a graceful transition, but it's worth a try with an experienced crowd.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Joy

Author's Notes:
This dance was first presented at the Littlest Wiseman Pilgrimage in December 1980. It is dedicated to Mary D. and Howard Walsh, Lloyd Shaw Foundation members, to express appreciation for their graciousness and generosity, and for the joy they have given to so many people over the years.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/9/2001; edited by Russell Owen

Jubilation

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Judah Jig

Author's Notes:
The San Francisco dance is held at St. Paul's Church hall on Judah Street. I usually use reels for this, but called it Judah Jig for the alliteration.
Inspired by Ted Sannella's "Be My Valentine"

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/24/1996; last revised 3/5/1999; edited by Russell Owen

Julie's Reel

Author's Notes:
Background: The beginning part of this dance came from "Margaret's Fancy" by Roger Whynot. While in the middle of my love affair with heys, I explored here the feeling of a hey along the line rather than across. I dragged Julie Searles to a dance where she fell in love with contras; she changed plans and attended the Port Townsend International Folk Dance and Music Festival; later, she moved to western Massachusettes to dance. I first called "Julie's Reel" late at night at the Port Townsend week she attended. The traditional tune "Judy's Reel" (in the book) fits well with the dance.

Editor's Notes:
Dancers who are out should join the "hey" in A2. Variation: left-shoulder gypsy instead of allemande left in A2, turning this figure into a genuine hey.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/12/1997; last revised 3/5/1999; edited by Russell Owen

Jump to the Stars

Author's Notes:
The inactives must be ready to commence the left-hand star quite promptly, as indicated in the dance title.

Editor's Notes:
An alternate transition to consider: 1's slide left, passing front to front, to trade stars.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 7/8/2001; edited by Russell Owen

Kimmswick Express

Author's Notes:
Highly recommended. Dancers may have to hustle a bit in phrase B.
First called at the Spring '95 Kimmswick dance weekend.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Kiss the Bride

Author's Notes:
This dance was written to show the different stages of a relationship. At the beginning, there is that uneasy meeting phase (dosido), Followed by a "what-the-heck, let's see what happens" attitude (the swing). During the long lines forward and back, the dancers look across the set. Whoa! Who is that?! The ladies can't stand it! They allemande across the set and gaze into their partner's eyes (gypsy). When they can't take it anymore, the swing occurs. Finding their true match, the partners walk down the aisle (or across the aisle in this case!). Many theories exist for the significance of the circle right following the promenade. I leave it to you to create your own interpretation.
Written for Robin Brodeur and Michael Bancroft's wedding.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 3/9/1997; last revised 3/5/1999; edited by Russell Owen

La Bastringue

Editor's Notes:
Customarily danced to the title tune.

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

La Habañera

Author's Notes:
1. The double balance in A2 should be forward and back, rather than side to side. This will launch everyone in the appropriate direction for the orbit figure.
2. In B2, the transition from ladies allemande right 1 and 1/2 to the circle left with the next is potentially awkward. One way to make this a feature rather than a liability is for the women to turn once over their own right shoulder after the allemande, which should send them into the circle very naturally.
3. Many tunes will work fine for this dance. However, with the right band, the Bizet tune "La Habañera" from Carmen is swell. With a nice slinky rendition of this tune, one might consider substituting a gypsy for the dosido in A1.
4. The dance is named, not for the Bizet tune, but for the spicy habañera pepper, which is over 1000 times hotter than a jalapeño. :-)

Editor's Notes:
Make sure the sets are well spread out along the line so there is room for the gents to walk around the ladies in A2.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/18/1996; last revised 3/5/1999; edited by Russell Owen

Ladies Night Out

Author's Notes:
Dancing Tips: Because the entry into the hey for lady 1 is awkward, try a hand cast instead of a waist hold cast after returning from down-the-center.
Background: For the first two years I called dances in Seattle, I worked with Leah Weiss and Carol Rubinstein. When Leah decided to return to her home in New England, I dedicated this dance to these two musicians.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/20/1997; last revised 3/5/1999; edited by Russell Owen

Lady of the Lake 1

Editor's Notes:
Customarily danced to the title tune.

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Lady of the Lake 2; or Haymaker's Jig

Editor's Notes:
Customarily danced to the title tune.

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Lady Walpole's Reel

Editor's Notes:
Customarily danced to the title tune.

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Lalah's TriskadekaMania

Author's Notes:
Note that the Circle Right flows very nicely into a Circle Left with the next couple.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/11/1999; edited by Russell Owen

Lamplighter's Hornpipe

Editor's Notes:
Customarily danced to the title tune. See also Road to Californy (which is similar but has faster allemandes).

This dance is from American Country Dances On Line
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Lavender Moon

Editor's Notes:
Call for heads, sides, heads, sides.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Leading Ladies

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Lights at Dawn

Author's Notes:
First called at dawn at the fifth annual BACDS Dawn Dance, 2/18/90.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 12/24/1996; last revised 3/5/1999; edited by Russell Owen

Little Tickle

Author's Notes:
Written to go with the jig I wrote of the same name, given here in ABC format:
X:1 %Music
T:Little Tickle Jig
C:Mary Ann Tracy
Q:1/4=120 %Tempo
V:1 %
M:6/8 %Meter
L:1/8 %Default note length
K:G
gfe fed |B2 G G3 |gfe dBG |E3 E3 |
gfe fed |B2 G G2 D |EGE FDF |G3 G3 ::
e2 e efg |d2 B GAB |c2 A DEF |G2 B d3 |
e2 e efg |d2 B GAB |cAF DEF |G3 G3 :|

Editor's Notes:
To play the tune, save the tune (starting from X:1) to a file named, for instance, "Little Tickle.abc" and open in an ABC tune player. One program that I've found works well is the inexpensive shareware program Melody Assistant, which runs on MacOS and Windows.
Warning: at least one program I tried (BarFly 1.1 on MacOS) plays the rhythm incorrectly; if it doesn't sound like a jig then try another program.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 5/25/2002; last revised 7/28/2002; edited by Russell Owen

Long Road, The

Author's Notes:
This dance evolved while trying to include a partner swing in Roger Diggle's "Roger's Weathervane". The men's right shoulder pass is like a right allemande without hands, and the women should wait and join their partner when it has been completed.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 1/12/1997; last revised 3/5/1999; edited by Russell Owen

Lost in Interstellar Haze

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 6/5/1997; last revised 3/5/1999; edited by Russell Owen

Love of My Life

Editor's Notes:
Composed for his wife Shelagh.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 3/5/1999; edited by Russell Owen

Lovely Lane Chain

Author's Notes:
While this may be danced as a double sicilian circle (mescolanza), it works better in lines, even though there is some waiting out at the ends. One way to set up the formation is to create two improper contra lines of even length and slide them together to make lines of four facing four. My inspirations for the dance came from an English folk version of a 19th century ballroom dance (Tom Pate/La Tempete) and a modern square dance figure (eight chain thru). Composed to celebrate the wedding of Bruce & Susan Edwards at Lovely Lane Church in April, 1983. My favorite tune for the dance is Peacock Rag. This dance is included in the 7th edition of Dance A While: Handbook for Folk, Square, Contra, and Social Dance published by Macmillan (New York, 1994).

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 5/4/2000; edited by Russell Owen

Lucky Six

Author's Notes:
A simple dance but not totally easy because of the swing to swing transition.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1997; last revised 3/5/1999; edited by Russell Owen

Maggie's Hobby

Author's Notes:
In B2 the ladies should catch each other's left hand as they pass thru, and allemande left 1/4 , while the men should pass thru to the ends of the wave and give right hands to partner. "Pass The Ocean" is a modern square dance figure. The dance was composed to honor the marriage of two Baltimore dancers, Maggie Taylor and Jay Hobbs.

This dance is from American Country Dances On Line
All rights reserved by the author; used by permission.
Added to database 11/17/1996; last revised 5/4/2000; edited by Russell Owen

Marion's Delight