What is the kontredans?
The kontredans is defined as the repeated execution of a predefined sequence of figures, carefully designed to fit a fixed length of music, performed by a group of people, usually in couples. The figures involve interaction with your partner and/or with other dancers. The name derives from the French word ‘Contredance’.
The kontredans consists of a series of elegant, bright and rhythmic dances that were once popular all around the Seychelles and that are now unfortunately performed only at special occasions and festivals. It is a social dance, and a partner is always required. The dancers form couples with the lady, or danm, always located on the right-hand side of the gentleman, or kavalye, (Fr. cavalier). The couples then form sets of two couples in two long lines facing each other. The size of the dance floor would usually dictate the length of the lines.
This is the second post in the series. Please refer to the first post ‘Kontredans-Contredance-, An Introduction’ to read the introduction to kontredans. In this post, I will attempt to describe all possible calls and figures of the kontredans. And in subsequent posts, I will try to link those calls and figures in different sequences to make up nine of our most popular kontredans.
The popular Kontredans of Seychelles
There are altogether around nine popular types of kontredans in Seychelles and these include: Avande (Fr. Avant Deux), Avantrwa (Fr. Avant Trois), Avankat (Fr. En Avant Quatre), Men Gos Men drwat (Fr. Main Gauche Main Droite), Dozado (Dos à Dos), Laboulonzer (Fr. La Boulangère), Galo (Fr. Le Galop), Final (Fr. Final) and Galo Final. There are three other slightly different and lesser known kontredans to the first group and these are: Lansye (Fr. Lancier), Polonez (Fr. Polonaise) and Karyon (Fr. Carillon).
The Dance Calls and Figure Sequence
These calls, known locally as maloumbo, made by the caller- Komander- (Fr. Commandeur), are all in Creole but I have added the French translation. The explanations, on the other hand, are in English. I have tried to be as thorough and accurate in the explanations whilst avoiding using the complex technical terms, bearing in mind that I am far from being a dance expert. There may also be some other figures that I have missed, or are not accurately described, and it is for this reason that I welcome any contribution that can assist to make this post more comprehensive.
Some Technical Information
It is hard to describe a piece of music and a dance without getting technical. However, there are some basic terms that I think are required to be defined in order to give us a better understanding of the kontredans music and dance. I have described below, in a very simplified manner, some of the terms that relate to the kontredans, and I hope that my attempt does not create any confusion.
The Structure of the Kontredans
The typical choreography of most kontredans comprises three parts, each 16 counts (8 measures) long. The parts are called A, B and C. For example, in ABAB song form, the sections are usually 8 bars long. This song form normally begins with an A section of 8 bars, then the B section of 8 bars, after which the A and B sections are repeated. Most of the kontredans has an A B A C structure. This structure however does not apply to all kontredans, for example the Galo has an A B A B structure and the Final has an A B A C C structure.
The Figure– Figir
Most kontredans consist of a sequence of about 6 to 12 individual figures or figir, prompted by the caller –komander- in time to the music as the figures are danced. A figure is a pattern of movement that typically takes eight counts, although figures with four or 16 counts are also common. Each dance is a collection of figures assembled to allow the dancers to progress along the set. An example of a figure is lasenn de danm (Fr. La Chaine des dames).
The Count
A count is one quarter of a musical measure. A count may also be called a step, as kontredans was originally a walking form, and each count of a dance typically matches a single physical step in a figure. I hope this makes sense!
The Phrase – Fraz
The phrase, in music, refers to a short section of musical composition into which the vocal or instrumental appears to fall naturally. Musical phrases for a Kontredans can range from four (Final) to eight ( Avankat) measures long.
Time Signature.
Time signatures define the meter of the music. Music is “marked off” in uniform sections called bars or measures, and time signatures establish the number of beats in each. The kontredans is usually written in either 2/4 or 6/8 time.
Measure-Mezir
Music is divided into measures. A measure is the section of a musical staff that comes between two barlines. Each measure satisfies the specified time signature of the staff. For example, a song written in 4/4 time will hold four quarter note beats per measure. A song written in 3/4 time will hold three quarter note beats in each measure.
Tempo
In musical terminology, tempo (“time” in Italian) is the speed or pace of a given piece, usually in beats per minute. Kontredans are played at a narrow range of tempos, between 104 and 120 bpm (beat per minute). This is usually represented by the metronome mark which is a crochet or quarter note and the number of beats located at the start of the score or music sheet. The dozado is usually played at 112bmp and the Final and Laboulonzer, are faster and are played at 120bpm.
The figures and Steps of the Kontredans explained.
Introduction
Please note that the calls are in Creole (in italic) and also translated into French. There is, to date, no standardised phrases for the calls. Consequently, the phrasing of the calls may vary among the different callers. ‘Call phrases’ , in this instance, is not the dance phrase, as described above, but the short sentences used by the caller instructing the dancers what figures to dance.
In these descriptions, below, I have tried to keep to a natural sequence of figures that a caller would follow. I would like to point out though, that not all these calls and figures are found in all dances. Some are specific to a dance, and some others are more generic and found in all the kontredans. For example, lasenn de danm, ron salon, balanse, are found in almost all dances whereas avankat, avande and krwase sase are specific to other dances.
We will first discuss the figures and steps that are generic to all the Kontredans and then discuss the ones that are specific to individual dances.
Generic Figures and Steps
The music starts and the caller, or konmander, whilst playing his triangle, takes over and starts his calls- maloumbo. As already mentioned, the calls are basically instructions to the dancers on the figures and steps to follow. Please note that the caller may, on a whim, change sequences of calls and figures in order to add some variety to the dance.
Kavalye a vo plas, serse vo danm. Cavaliers cherchez vos dames et prenez place.
This call requests the gentlemen to find their partner and take their position on the dance floor. The dancers find their way on to the dance floor and all ladies position themselves on the right-hand side of the gentlemen. Two lines of couples are created with all dancers from both lines facing each other. Once on the floor, the dancers may start to gently move to the rhythm of the music while waiting for the caller to start the dance. When all is ready the caller then starts:
Danm vire, kavalye frape vo men/ tour demi ron. Dames virez, cavaliers frappez vos mains et dames fait demi-tour.
The gentlemen clap their hands while the ladies turn clockwise and then anti-clockwise in front of them. Just before the musical phrase is over, the gentlemen and the ladies hold hands, to waist height, and form a small circle and dance by themselves, turning clockwise and then anti-clockwise, while staying in their position.
Travers senn Anglez (lasenn anglez). Formez la chaîne Anglaise
At the end of the figure, above, without breaking the rhythm, the gentlemen perform the senn Anglez by using their left hand to hold on to the ladies’ right hand and then they both raise their hands above head level. And, with their ladies in front of them, both couples leave their original spot and cross over to the opposing end.
Lasenn Fransez. Chaîne Française
They then perform lasenn Fransez, or chaîne Française by returning to their original spot. The ladies will be continuously swirling in front of the gentlemen during this process, with the gentlemen still holding the ladies’ hand over her head. The gentlemen may leave the arm hanging loose or rest on their hips. The couple at the other end also does the same movement and complete the same figure. This figure loosely resembles a chain, hence the name lasenn (Fr. chaîne).
Demi senn Fransez/ Demi senn Anglez. Demie-chaîne Française/ Demie chaîne Anglaise
The couples perform two half chains. This is achieved by the couple moving halfway towards the other couple’s position (demi senn Anglez) and the caller then calls for Demi senn Fransez and the dancers perform the second half of the chain by returning to their original position.
Most of the time even if the caller shouts out Demi senn Fransez/ Demi senn Anglez the dancers will perform the Lasenn Fransez/Lasenn Anglaise.
Lasenn de danm. La chaîne des dames.
This call literally means to form the ‘Ladies’ chain’. The Ladies from each couple perform a full figure of eight by weaving towards the other couple’s spot, using small quick steps and holding the sides of their skirt, turning around the gentleman and return to her original spot. During that time the gentlemen acknowledge the ladies and dance in their location and do not move from their spot. If this figure is to be done twice then the caller calls ‘ fer redouble’ or ‘redoublez’.
Ron demi ron. Fait demi-rond
Gentleman and his partner hold hands and turn on their own spot first left then right or right then left.
Balanse. Tournez
This figure is most of the time performed at the end of the second figure of lasenn de danm. As soon as the ladies arrive back at their original spot, they ‘fall’ into the open right arms of the gentlemen and they both ‘spin’ clockwise, and at the end of the phrase, the caller will call, arrier devire, meaning to spin anticlockwise. The gentlemen hold the ladies with their right arm around the ladies’ waist and the ladies hold the gentlemen with their left arm just below his shoulder. At the same time the gentlemen hold the ladies’ right hand with his left hand, holding her hand up and as if they are going to dance a waltz, although the steps are very different from that of a waltz.
Rotinn balanse – tournez très vite
Similar to balanse with a more faster spinning motion.
Arrier Devire- Virez en arrière
This call requests the dancers, after dancing the balanse in a clockwise direction, to dance once more in an anti-clockwise direction. Sometimes referred to as vire devire.
Krwaze Sase. Croisez et chassez
This figure derives from ‘chassé-croisé’ which is a movement in a quadrille dance in which partners exchange places by means of a ‘chassé’. When a dancer is doing a chassé, they have one foot extended forward, the back foot then “chases” and meets up with the front for a quick moment before the front foot shoots forward again, all while travelling forward. … The step is called ‘chassé’ because the back foot literally looks like it is chasing after the front.
In the kontredans Seychellois there two ways of perfoming the Krwase Sase. The first one is performed by both couples. When the caller calls for krwaze sase, the gentlemen and the ladies dance freely around each other, without holding hands. They dance in their original position. This figure is performed in the Avankat.
The second way, which is featured in the Avande, is performed by the gentleman of one couple and the lady from the other couple. When the caller calls for krwaze sase, the gentleman and the lady, straight after they have performed the avande, stay in the middle and dance around each other without holding hands. At the end of the musical phrase, they return to their original position and perform lasenn de danm.
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The Generic Set of Figures that conclude a kontredans.
Traditionally the Kontredans almost always finishes by most of the following figures below:
Ron salon. Formez une ronde.
Upon hearing this call all dancers form a circle. They all hold hands with the gentlemen and ladies in alternate position i.e., one gentleman then one lady and so on. They form a large circle and all dancers face inside the circle. But sometime one dancer may decide to face out. All this is done within one musical phrase. Sometimes while forming the ‘ronde’ the caller may also call out ‘atrap lanmen san delase– meaning hold hands and do not let go. Sometimes the caller may also call out ‘ronn a drwat, ronn a gos‘ . This call asks the dancers to make a few steps to the right and then to the left before performing the ‘frenm balon‘
Frenm balon. Fermez la ronde
This call instructs the dancers to close the circle, and they all make short steps towards each other, and then the caller calls out…
En, de, trwa arrier. Un, deux , trois, ouvert la ronde
…instructing the dancers to open the circle by dancing outwards while still facing inward. Once the circle is fully open the caller asks the dancers to repeat once more.
May may a gos/ may may a drwat. Croisez les bras gauches/droits
As soon as the circle is fully open, the gentlemen ‘hook’ their right arm underneath the right arm of the ladies on their left, linking arms at the elbow and circle around each other using hopping steps for half a musical phrase. Then, gentlemen ‘hook’ their left arm underneath the left arm of the ladies on their right, linking arms at the elbow and circle around each other using hopping steps for the next half of the musical phrase. At the end of this figure, they merge straight into the pronmnad.
Pronmnad galo- Fait la promenade au galop
The gentlemen hold their partner as if dancing the waltz and dance clockwise for the duration of one phrase and then anticlockwise for the next phrase. The steps the couples make though are faster that those of the waltz. The caller may decide to repeat this figure. When the phrase is about to end, the gentlemen let go of their partner and allow them to turn on their own while holding their right hand above their head like they would do in lasenn Anglez. They then all bow towards the on lookers and the dance stops.
Galo Final- Le galop final
This is a pronmnad galo where the lasenn de danm is repeated twice.
Specific Figures and Calls
Figures specific to Kontredans Galo
Traverse galo- Traversez au galop
Traverse galo usually follows the balanse. Once the couples have performed the balanse figure, the gentleman holds the hand of his partner like he would do if performing the lasenn Anglez. But halfway into the lasenn Anglez the dancers exchange partners and complete the lasenn Anglez , ( sometimes the caller will call retraverse galo) followed by sanze vou laplas ( explained below) and lasenn de danm with their new partner. They then perform a rotinn balanse, arrier devire and followed by lasenn de danm. When they perform lasenn de danm the gentleman also follows the lady and return to their original position and complete the lasenn de danm.
Kavalie sanz plas, fer lasenn de danm. Cavalier changez la place suivit par la chaîne des dames.
This call asks the couples to change places. The gentlemen start the lasenn de danm and their partners follow behind and they seamlessly complete the lasenn de danm at the opposing corner.
Balanse (Galo) version
This figure is performed when dancing the kontredans called Galo. It is danced just after the call asking the couple to perform the ‘Sanz laplas, fer lasenn de danm.’ This call asks the gentlemen from the two opposing couples to exchange places (i.e., move to each other’s position) and to seamlessly perform lasenn de danm. When the caller calls for them to rotinn balanse the gentlemen, because they will now end up on the opposing side, will therefore ‘balanse’ with the lady who is from the opposing couple.
Figures specific to Kontredans Dozado
Dozado. Dos-à-dos
This call requests the dancers to dance back-to-back. The movements are almost identical to those of the Avande except that the two dancers make an extra step past each other , then move sideways towards each other so that their back touches and then dance back-to-back (Fr. dos-à-dos) instead of facing each other. They slowly turn until they both face their original partner whom they rejoin to start the next figure, which is most cases is the demisenn Angleze/ Fransez.
Figures specific to Kontredans Avande
Annavan lede vizavi. En avant les deux et dansez vis-a-vis.
The gentleman from one couple and the lady from the other couple move forward and dance in front (vis- à-vis) of each other. When the two dancers are performing their avande, the other gentleman and lady move to the rhythm but stay in their position.
Figures specific to Kontredans Avantrwa
Annavan letrwa. En avant les trois.
This call requests three dancers to move forward. In this figure, the gentleman holds the right hand of his lady with his left hand, similar to how he would hold if he was performing the ron salon. Then the lady from the opposing couple moves forward and holds the right hand of the gentleman with her left hand, and all three dance forward and then backward until the end of the musical phrase. While they are dancing the other gentleman unfortunately stays in his corner and dances on his own.
Sers ou madanm, kavalye. Kavalier cherchez vos dames.
This call follows the annavan letrwa and requests the lonely gentleman to go and find his partner. The gentleman who was dancing alone moves forward and holds the hand of the lady of the other couple, performs a ‘en tour demi ron’ then lets go of the lady and does the same dance with his own lady and returns with her to their original position. The other gentleman also holds the hand of his lady and waits for the next call.
Ronde Anglez/ ronde Fransez– Formez une ronde à l’Anglaise/ ronde à la Francaise
The two couples hold hands and form a circle and danse clockwise (Fransez) and then anti-clockwise (Anglez)
Figures specific to Kontredans Avankat
Annavan lekat. Avancez les quatres.
The caller asks the two couples to step forward. As soon as the balanse figure is done, the gentlemen hold the right hand of the ladies using their left hand and hold them about shoulder high and dance towards each other. Once they are close enough to almost touching each other, both couples turn and dance back to their original spot, from which they step forward and back once more. Once they are close enough to almost touching each other, both couples turn their backs to each other and dance back to their original spot. They repeat this figure once more. Sometimes when the couples perform the second figure, they step forward facing the other couple but move backwards, whilst still facing the other couple. They may also decide to dance backwards towards each other.
Figures specific to Kontredans Men Gos-Men Drwat
Travers men gos, men drwat. Main gauche, main droite.
This figure, translated as ‘left hand, right hand’, is performed when the dancers are performing the kontredans called ‘men gos men drwat’.
As with the Annanvan lede, the gentleman from one couple moves forward to the middle and dance in front (vis-à-vis) the lady of the opposing couple. When the two dancers are performing their annavan lede, the other gentleman and lady move to the rhythm but stay in their position. There are two versions to this figure:
Version1
To perform men gos, men drwat , the gentleman, with his right hand holds the right hand of the lady he is dancing in front of, she then makes a full turn and while she is half way through the turn the gentleman grabs her left hand. When she finishes the turn, she will be located in front of the gentleman, with her back turned towards him. He will now be holding her right hand with his right hand and her left hand with his left hand. They dance for a while both facing the same direction. The caller then calls….Tyombo lanmen… ( below)
Version 2:
To perform this version of men gos, men drwat, the gentleman and the lady dance forward. While dancing forward the gentleman crosses his right arm over his left arm and immediately, with his right hand holds the right hand of the lady he is dancing in front of and with his left hand holds the lady’s left hand. He then turns her around and raises the hands above her head. This move results with the lady, when she finishes her turn, ending up with her back to her new partner. They now both dance facing forward until the caller calls the next figure…tyombo lanmen…(below)
Tyombo lanmen san delase/ sanz laplas. Tenez les mains et changez de place.
Hold your hands tight and change position.
This figure is performed during the Men Gos Men Drwat dance and follows from the travers men gos, men drwat figure. The couple turns sideways and the gentleman releases one of the lady’s hands so he can hold his own partner’s hand. At the same time the lady he is dancing with, and whose hand he has just released, makes a half turn, holds the hand of her partner and all four of them, linked by holding hands, dance together in a straight line. They dance forward a few steps and then backwards.
The two gentlemen will end up facing the same direction and the two ladies the other direction. At the end of the musical phrase, the gentleman releases the hand of the lady who is not his original partner and with his lady in front of him, he dances to the other couple’s position and change place with them (sanz laplas) . The other couple performs the same figure.
Figures specific to the Kontredans Polonnez.
Travers Polonnez– Traversez à la Polonnaise
There are two versions of this figure. One version is where there are two doors to the dance hall. One in which the dancers go in and one from which they emerge. The other version is performed when there are no doors available, and the dancers do not leave the room or hall.
The doors version:
When the dance starts and the caller calls for the dancers to perform Travers Pollonez, one couple place themselves next to a door and hold hands to form an arch. The other couples, holding their hands as if they were performing the lasenn Anglez, dance, from the dance floor, through the arch and leave the hall through the door. They then return to the hall through the other door. When all the couples are back in, the dance carries on and when the caller calls the dancers to perform Travers Pollonez, another couple forms the arch which the others dance through. This carries on until all couples have danced through the arch.
The no-door version
The dance sequence is the same as the door version, except that the couple form the arch inside the hall and the other couples dance through it and stay in the hall instead of going outside and coming back again.
Kavalye met ou danm devan ou frape an swivan par deryer. Cavalier met votre dame devant vous, frappez vos mains en la suivant.
This call requests the gentlemen to place their partners in front of them and to follow them whilst clapping their hands and, at the same time, moving around in a big circle.
Figures specific to the Kontredans Karyon (Se Lakouri).
Kavalye se lakouri
This call is made immediately after the ron salon. When the caller makes the call, the couples break away from the ron salon and face each other and start to dance without moving around. They may be asked to perform a Frape/ Demi ron, whereby the gentlemen will clap their hands and perform a demi ron with his partner. The caller will then call out the next figure below:
Lot kavalye se lakouri
The gentleman moves left and performs a frape/ demi ron with the lady in front of him. The caller makes the same call again and the gentleman moves once more to his left and dance with the new lady. This carries on until all gentlemen have danced with all ladies. The dancers then group together to perfom a ron salon and then the caller will make the next call below;
Danm se lakouri
This time it is the ladies turn to dance in front of the gentlemen
Lot Danm se lakouri
The ladies then move to their left when this call is made, and the dance carries on until they have all danced with all gentlemen. The dancers then perform a ron salon…
Figures specific to the Kontredans Karyon (Traverse).
Lev lanmen anler, en kavalye e en danm, traverse. Levez les bras, formez une arche et un cavalier et une dame traversez en dessous.
This figure is the same as the the ‘no-door version’ of the Polonnez whereby one couple forms an arch with their arms inside the hall and the other couples dance through it.
Figures specific to the Kontredans Lansye.
Lasenn de danm sir lalonger, double sir lekote- La chaine des dames sur la longueur et puis redoublez sur le côté
The dancers perform two lasenn de danm. The first one which is a generic one whereby it is performed with the dancers facing each other. Once this is done, and the dancers have returned to their original position, they re-perform the lasenn de danm with the dancer on their right or left, depending on the caller’s instruction. This figure is best achieved when there are 4 or 8 couples.
Embellishments
The Kontredans would be very boring, like the classic quadrille, if it were not for the verbal embellishments. They are calls that are merely ‘fillers’ and not meant for specific figures. Embellishments are not essential to carry the overall line of the melody (or harmony), but serve instead to decorate that line/ figure (or harmony) . They provide added interest and variety and give the performer the opportunity to add more life and expression to the dance.
Most embellishements are added when the figure is long, creating a ‘lull’ between the calls. For example, when performing lasenn de danm (Fr. La chaine des dames) which is a long figure and there is a wait before the next figure. It is therefore an ideal space to insert an embellishment.
Some embellishments in the kontredans are short and they are added whenever there is space in between two calls. They include:
- Tigalo rwa labalans– fais des petis pas galop en balancant
- Make short quick steps while ‘swinging’
- Dezade, pazapa. Deux à deux, pas à pas
- Making small quick steps forward and backward
- La la la la la …..
- La la la la la …..
When performing the krwase sase ( Fr. croisez et chassez) the caller may call:
- sase rwa la balans
- sase rwa la kadans
The longer embelishments are usually parts of traditional songs. Some of these include:
- ‘Pardon manman mon pas pou fer enkor zot, si on fer enkor manman pou bat mwan.’
- ‘Ding dong bel son mari kontan kouto’.
- Koste kot mwan mon doudou, koste kot mwan mon doudou, koste kot mwan, mwa anbras a ou’.
- Dan lakaz anpay nou de tousel nwa byennere, nwa manz sousout nwa bwar dimiel dan lafore.
- Baka anba lili, kalou dan bife.
What is next?
In the next few posts I shall attempt to link the above figures in the sequence required for each kontredans.
Post Author’s note:
I have to advise that I am in no way a specialist in music and dance and rely on my own knowledge and limited research to produce this post. I look forward to any contribution that will assist in making this post more accurate and more comprehensive.
Sources
The booklet ‘ Lanmisik ek Ladans Traditionnel Seselwa- Ladans Salon / Kanmtole’ has greatly assisted me in this project. Any contribution that would assist in correcting or making these posts more complete will be greatly appreciated.
Various videos from YouTube
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