Contra Dance
as an
Intangible Cultural Heritage
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A Study of the Dance
"Delphiniums and Daisies" by Tanya Rotenberg
Thomas and Peebles (2016) proposed a general graph-theory approach to the study of contra dance
(as shown above), using Mui's (2010) study of contra dance and preferred transition graphs.
They demonstrated that contra dances are essentially a matrix or networked sequence of potential actions, in which different figures and positions progress from one to another under certain structural boundaries, emphasizing the mathematical aspects and process-oriented nature of contra dance choreography.
Contra Dance as a Cultural Process
Dances are composed, or built, around certain structural elements as well as the flow of human movement and connection. The formations and figures of contra dances, particularly in good dances, are like gears in a well-constructed machine: they must fit together in a way that makes sense—especially to dance callers, who in turn instruct dancers and work with musicians—matching the momentum and natural motion of the human body and the rhythm and phrasing of a musical tune to create a satisfying dance experience.
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Both writing dances and calling dances are vivid examples of the
process-oriented nature of contra dance.