Contra-Dance

I think it's safe to say that the Bloomington Contra-Dance was unlike anything I had ever experienced before.  I'm not exactly sure what I was expecting, but it definitely wasn't this.  Although unexpected, I had a remarkable time and definitely would like to return.

From the moment we walked through the doors, I felt like I was at a 1970's school dance.  The bleachers in the rusted gym were pushed aside to create a sizable dance floor.  The band, made up of a fiddler, banjo and guitar player, was situated next to a microphone intended for the evening's host.  What surprised me even more than the setting of the dance, however, were the participants.  As the dancers filed in, I noticed that the majority of them were fairly old and thin.  Everything about the night screamed "old fashioned".

Nowadays, it is rare to experience an activity where people of all races and ages come together purely for their own enjoyment.  Along with entertainment, contra-dancing has multiple purposes.  For middle and high-class dancers, it can act as a way to escape capitalism.  To other, lower-class participants, contra-dancing can be a continuation of the way they live their lives.  Looking around the dance floor, it was obvious by the smiles painted on everyone's faces (including mine!) that the contra-dance brings joy to those who participate.

This joy stems from the participatory aspect of contra-dancing.  A participatory event is an event in which there is no distinction between the artist and audience.  Participatory events keep participants interested by not being too easy or too difficult.  Additionally, they value participation and result in social bonding.  Contra-dancing does not distinguish artist and audience, it is easy to catch on but not too simple and the more participation, the more successful the event is.  Just in my two hours at the Bloomington Contra-Dance, I interacted with a countless amount of people.  Tonight I became part of a cultural cohort that made me feel welcome, included and alive.

The ability to come together as a community and do something is an integral step to take in remodeling society.  Music is one of the most important tools we can use to change the value system of our lives, cohorts and formations.  Global citizenship, or approaching your life believing you are part of a community, is fostered through participatory music.  Even small changes, such as turning off the water as you brush your teeth or buying food from a local supplier, can make a difference.  As Professor McDonald pointed out in a recent class discussion, "doing something is better than doing nothing."