Contra dance choreography
Contra dance choreography specifies the dance formation, the figures, and the sequence of those figures in a contra dance. The figures repeat, ideally, in a graceful flowing pattern, and ideally, aligned with the phrasing of the music. Notably, contra dance figures (with a few exceptions) do not have defined footwork; within the limits of the music and the comfort of their fellow dancers, individuals move to the beat and embellish according to their own taste. Much of the dance is done as a walking movement, one "step" for each "count" of the music, while the arms and  hands do most of the changing, most of these involving connecting with others' hands. Most contra dances consist of a sequence of about six to twelve individual figures, prompted by the caller in time to the music as the figures are danced. As the sequence repeats, the caller should be able to cut down his or her prompting, sometimes to a single word for every figure, and eventually stop calling, leaving the dancers to each other and the music. Fundamentals. A figure is a pattern of movement that typically takes eight "counts", although figures with four or sixteen counts are  also common. Each dance is a collection of figures assembled to allow the dancers to progress along the set (see Progression). A count (as used above) is one half of a musical measure, such as one quarter note in time or three eighth notes in time. A count may also be called a "step", as contra dance is a walking form, and each count of a dance typically matches a single physical step in a figure. Typical contra dance choreography comprises four parts, each 16 counts (8 measures) long. The parts are called A1, A2, B1 and B2. This nomenclature  stems from the music: Most contra dance tunes (as written) have two parts (A and B), each 8 measures long, and each fitting one part of the dance. The A and B parts are each played twice in a row, hence, A1, A2, B1, B2. While the same music is generally played in, for example, parts A1 and A2, distinct choreography is followed in those parts. Thus, a contra dance is typically 64 "counts", and goes with a 32-"measure" tune. Tunes of this form are called "square"; tunes that deviate from this form are called "crooked". Crooked tunes are more  commonly used in square dancing, where the phrasing of the dance does not have to align as closely with the phrasing of the music. To give weight in figures such as an allemande, rollaway or swing, lean slightly away from your partner and maintain a distinct resistance in your arm, hand and fingers; don't squeeze, but don't let your arms go limp or fully extended, either. This helps you and your partner move in unison. It also allows such figures to be done faster and with extra flair, and may enhance the sense of dancing "with" the other  person and not just "near" him or her. Weight can also be thought of as "springiness" or "tension". Same-sex partners are increasingly common in contra dancing, either by preference or to accommodate different numbers of men and women attending; in the descriptions that follow, gentleman and lady refer to "roles", rather than sexes. Contra dance figures. Basic figures for singles and pairs. The gent may choose to spin the lady under his arm at the end as a flourish; in some areas this spin is practically a rule, while in others it is unheard of. As with twirls, flourishes  can add some fun, but can also slow things down and affect the timing of the dance. Promenades are frequently used to move a couple to the opposite side of the set, or to bring dancers back to place (useful when dancers get lost mid-dance).