I have no desire to prove anything by dancing. I have never used it as an outlet or a means of expressing myself. I just dance. I just put my feet in the air and move them around.
--Fred Astaire
Contra and Politics
February 16, 2007

In my dance life, I straddle three worlds: gay square dancing, straight square dancing, and ocntra dancing. And I've often thought about the political and cultural differences between the groups, especially between straight square dancing and contra dancing. As David Franke, a self-described "religious agnostic and, in political terms, a libertarian, classical liberal, individualist, or radicalóanything but conservative" notes, "in 15 years of contra dancing and all the conversations Iíve had with the other dancers when weíre not on the floor, I cannot think of one conservative among them." However, he thinks this may be changing. Here are his thoughts in (Won by One:

While I love world music and African dance, my home base is traditional American music and dance. In particular, youíll find me contra dancing every Friday. The odds are that you havenít heard about contra dancing, so let me explain that its initial roots are in England, but by now itís as American as, well, apple pie. When Iím on a contra line, Iím sharing that line with colonial Vermonters of the Green Mountain Boys era and every generation of Americans before and since. We dance to live music, with New England, Appalachian, and Celtic tunes being the dominant influences. Many of our dance moves are the same as in square dancing, though we are arranged in long lines of couples rather than squares.

This is a quintessential American experience harking back to an earlier era. Live acoustic music, not the DJ- and rock-oriented club scene. No alcohol or drugsópeople come only to dance and socialize. We often share potluck meals or snacks. Itís truly intergenerational, with everyone from grandparents to teens and young children dancing with each other. Dance flirtation is encouraged, but try to go beyond that and youíll be invited to find a different venue. At a contra dance weekend, everyone adopts the young kids by looking out for them so their parents can dance too. This is a uniquely American cultural community, found in hundreds of towns and cities across the nation.

Why do I bring this up? Because in 15 years of contra dancing and all the conversations Iíve had with the other dancers when weíre not on the floor, I cannot think of one conservative among them. Occasionally one will show up for one or two dances, but they donít come back. I donít know why, but from conversations with a few of my conservative friends who know of my strange obsession, I suspect they find it too quaint, too hokey for their tastes. They prefer the more fashionable forms of dance and partying that are popular in the suburbs, the synthesizer over the fiddle, the country club over the Grange hall. Heck, they donít even know what a Grange hall is. So from my personal experience in social and cultural traditionalism, Iíd say Weyrich and Lind have their work cut out for them, culturally perhaps more than politically.

But wait. All this was true in contra dancing until a couple of years ago. Inexplicably and spontaneously, at dances across the country, high-school and college students have discovered this ancient art form and taken to it with all the energy and enthusiasm youíd expect in their age group. Church youth groups are beginning to come together to our dances. And from conversations with the kids, particularly at rural dances outside metropolitan Washington, D.C., I know that a surprising number of them are home schooled. Being outside the cultural mainstream already, they have no problem with a dance form that might be sneered at by the ďinĒ kids at school. And their parents certainly have no problem with the wholesome atmosphere at the dances.
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Kris Jensen

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