Contra-dance
is a prime example of the participatory values we have discussed throughout
this course. With the friendly and patient veterans, live old-style music, and
welcoming atmosphere, one instantly feels welcome and most inhibitions
disappear once the music starts.
Initially, I couldn't help thinking of the square/swing dancing unit we had to take in grade school. I felt the tiniest bit apprehensive about this unfamiliar dance style, but overall I felt excited to learn the fundamentals of contra-dance and happy to be greeted with smiling and inviting faces. Those feelings grew during the learning process, as did my anticipation to start dancing. The feeling that came when the music began was one of communal engagement and freedom within the structure of the dance moves. While dancing, I felt like I was not purely inside my own mind, but aware of the bigger picture taking place during the event. As I was focused on getting the dance moves correct but not being able to keep the smile off of my face, I realized everyone else was focused on doing the same thing; almost everyone was visibly happy to be there and obviously involved with the moves and how they placed with the beat. Since this was my first time there, I initially considered myself an addition, but the word "addition" to me implied "extra," so the word I would use is contribution. I could feel that I was accepted into this activity because of the complete lack of alienation from the veteran dancers. The only comments I heard from them were constructive corrections and compliments that perpetuated the feeling of acceptance and want to participate. As with the drum circle, the desire to execute correctly was definitely present (because you wanted to keep the activity going for everyone else), but it was undermined by the overarching goal of simply having fun. No judgment was passed towards any of the newcomers, nor between the normal participants for that matter, which reinforced the feeling of camaraderie. Compared to contemporary and popular forms of dance that can be labeled as removed and observational, contra-dance is very personal and interactive. The reasoning could be that contra-dance has its roots in early American culture (before that, Irish culture) when intimate relations with your neighbors was not only essential to social collaboration and survival (trading goods), but expected out of common curtesy. Those same notions are translated into modern contra-dance by having everyone dance with everyone, having relations with other participants outside of the weekly event, and by simply looking in your partners eyes to keep from getting dizzy, creating a certain intimacy with a stranger that could be uncomfortable to most people of younger generations but is completely natural to those accustomed to contra-dance and old-time etiquette.
Initially, I couldn't help thinking of the square/swing dancing unit we had to take in grade school. I felt the tiniest bit apprehensive about this unfamiliar dance style, but overall I felt excited to learn the fundamentals of contra-dance and happy to be greeted with smiling and inviting faces. Those feelings grew during the learning process, as did my anticipation to start dancing. The feeling that came when the music began was one of communal engagement and freedom within the structure of the dance moves. While dancing, I felt like I was not purely inside my own mind, but aware of the bigger picture taking place during the event. As I was focused on getting the dance moves correct but not being able to keep the smile off of my face, I realized everyone else was focused on doing the same thing; almost everyone was visibly happy to be there and obviously involved with the moves and how they placed with the beat. Since this was my first time there, I initially considered myself an addition, but the word "addition" to me implied "extra," so the word I would use is contribution. I could feel that I was accepted into this activity because of the complete lack of alienation from the veteran dancers. The only comments I heard from them were constructive corrections and compliments that perpetuated the feeling of acceptance and want to participate. As with the drum circle, the desire to execute correctly was definitely present (because you wanted to keep the activity going for everyone else), but it was undermined by the overarching goal of simply having fun. No judgment was passed towards any of the newcomers, nor between the normal participants for that matter, which reinforced the feeling of camaraderie. Compared to contemporary and popular forms of dance that can be labeled as removed and observational, contra-dance is very personal and interactive. The reasoning could be that contra-dance has its roots in early American culture (before that, Irish culture) when intimate relations with your neighbors was not only essential to social collaboration and survival (trading goods), but expected out of common curtesy. Those same notions are translated into modern contra-dance by having everyone dance with everyone, having relations with other participants outside of the weekly event, and by simply looking in your partners eyes to keep from getting dizzy, creating a certain intimacy with a stranger that could be uncomfortable to most people of younger generations but is completely natural to those accustomed to contra-dance and old-time etiquette.
I personally am going to make a point to attend the weekly contra-dance once a month at minimum, because the event had such a strong positive effect on me. I came away with a thought of "why doesn't everybody do this?" which in turn made me categorize this event as pragmatic. Other than gaining attendees by word of mouth among friends, the contra-dance is not solicitous or propagandist towards non-attendees. Simply sharing the good experiences had at the contra-dance has greatly helped sustain the want/need for such an event on a weekly basis. If support for a small cohort like this can be so strong, imagine the possibilities with a larger event or project (for the greater good) when everyone knows they can participate and feel fulfillment in some way shape or form.
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