Abstract
Court and Country (Contra-) Dances constitute highly formalized and organized patterns in time and space. Although the floor patterns of these dances at any given time can be analyzed in terms of reflection and rotation symmetries, their transformations as the dances proceed are not so easily classified, as the dancers must disturb mirror symmetry in order not to pass through each other. Certain rhythms are analyzed, and a reason for medieval preference for triple time rather than quadruple time is advanced. The distinction between configurations of even and of odd numbers of dancers or couples is demonstrated, as is the symbolic value of the symmetry of some renaissance court dances. The structural differences between traditional English and Scottish Country Dances are presented in the light of historical relations between the two countries.
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