Prospective Next Trolley Barn Dance Program

http://chrispagecontra.awardspace.us/dances/index.htm#accretion-reel

[1] What ring? The circle at the end of B2. The first time through the dance, skip this part, and begin straight with the individual scatter promenade. (John Sweeney came up with a cool alternate beginning, with everyone in one big circle, before breaking it up into individual pieces. If so, you definitely also want the big circle for the final time through.)
David Millstone writes about a nice modification of this for ONS groups: "Chris's dance calls for folks to balance in and out, and even though I demonstrated that to a group, their inclination was to go into the center in four counts with a whoop! and their arms rising up. Who am I to fight the natural tendency of the dancers? I suspect that this feels more satisfying, and it still gives them 12 beats to say goodbye to their circle and to walk alone to find a new partner."
[2] When I'm calling for ONS (one-night-stand) groups, I'll use "say goodbye" here. Then when they gyre later on, it's "say hello, and go around them, looking at them."
[3] Those allergic to gyres may wish to substitute a do-si-do, or skip it altogether and go straight to the swing. For an ONS group, substitute the swing with a two-allemande, elbow swing, or "whatever you think a swing should be."
[4] For more advanced groups, the gypsy can be with more than one other person. And the swing can be a basket swing.
[5] Last time through the dance, I like to have everyone promenade in one giant circle. Ditto for the final circles.
[6] Here each couple needs to find a few other couples to circle with. Lone couples could always two-allemande each other. James Hutson came up with a nice term for these variable-sized circles -- blobs.

The dance I consider my best. Usable both for non-dancing crowds, and with regular contra groups.

I wrote it after attending a contra dance with a number of beginners that kept breaking down over and over and over. On the way back, I thought what would have worked (a dance that intentionally broke down each time), and came up with a dance that I kept refining and simplifying down to this. It was partly also inspired by Ted Sannella's "Ted's Solo Mixer" and the scatter mixer "Set a' Crochet."

The dance's name came from ideas of planetary system formation, where larger and larger chunks of matter spiral inwards from gravity, accreting to form planetisemals, and then planets. The analogy goes bad where everybody separates every thirty seconds, but you could just consider that a periodic supernova event.

After having danced this, the A1/A2 feels sort of like the rush of looking for a partner, though here the commitment's only for 20 seconds. Kind of reminiscent of the cabeceo of tango.

Videos: (#1) (#2)

B2 Circle L 3/4 (8), Balance the ring (4), Calif Twir
Bill Olson notes: The A part of this dance came from Vermont fiddler, Amy Cann. The rest kind of came together before a Concord (MA) Scouthouse gig on Feb 23, 2004. I used this easy dance to start off the evening that night. It is dedicated to my good friends from the venerable Boston area band, Yankee Ingenuity: Peter Barnes (who always enjoys a good pun), Mary Lea, Jack O'Conner and Cal Howard.

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 William Watson's mirror of 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

http://dancevideos.childgrove.org/contra/contra-modern/168-lavender-and-lilac

Note that the mad robin in B2 is with old neighbors, then the next mad robin in A1 is with new neighbors. Over the two mad robins, everyone's individual footpaths will describe a figure 8.
Found elsewhere:
http://dancevideos.childgrove.org/contra/contra-modern/486-sharon-of-the-green-contra
(different B1) http://squash.1gainesville.com/contradance.dances-composers.html#n

With no music playing, pigs walk forward and back singing "As it happ-ened all last year, So it goes ag-ain this year." At some point, the band begins to play frantically. Pigs make a tunnel down the lines and the Wolf runs down the tunnel, grabbing one person they want to dance with and pulling them into the tunnel. They go to the end and join the arch. The pigs scoot up to fill the gap. The person out runs (outside the tunnel) to the top and is the new wolf. Caller may add more wolves. At some point the caller signals the band to stop. The players go back to chanting and walking forward and back. Remind wolves not to neglect people at the top of the set, they don't always have to pull from the middle.

For musical notation of the song sung by the players as well as links to the dance being done see here: https://archive.org/details/pigs-and-wolves

Julian Bee notes that swapping the promenade for a R+L Thru is Linda Leslie's "Old Time Elixir #2", written in 1998. It's unclear when Dean wrote TTT, so both deserve a cross-reference. https://contradb.com/dances/474