Pimentel:

This is a simple dance which works well for new dancers, and the tune is so wonderfully joyful that everyone seems to enjoy it.

B1. I like each figure to fit two bar phrases, and for all four figures to feel like one fluid movement. Though I do not often use the words “gate” and “half figure eight,” I think newer dancers begin to get the feel for those figures here without even knowing it. That is intentional.

B2. Encourage intermediate dancers to start the star L on their right foot, so the new first corners have a nice transition into the setting at the top of

A1. After the star, end facing the same neighbor that you starred with.

A1 (5-8)/A2 (5-8) This leading is done as though circling to the left, but only holding hands with partners, not neighbors

B2 (5-8) Set and link = set R & L, then change with neighbor turning single R, 1^st corners turning through the inside, 2^nd corners casting over right shoulder around the outside.

A2. The “fish-hook” happens the second time 2^nd corners pass in the middle.

B1. The pousette ends early because it begins offset

Dance is easier if you cross over at ends—different corners have different roles.

Keep the heys tight—there are only 12 steps to complete them.

B2. Each change consists of the middle passing a corner by the R shoulder, that corner entering the middle, turning 90 degrees and passing the next.

This dance can be modified to be Domino Eight with these changes:

• Six dancers form a 2x3 grid.
• Two actives stand in each square of the grid facing each other.
• B2: Before the series of R shoulder changes with corners, the actives quickly change with each other.

Camus:

• This dance uses a crossover setting step similar to (the West Coast interpretation of) Irish Lamentation. It’s the cross-step waltz basic: Dancers start by crossing their right foot over their left. Starting the whole dance with the R foot may help.
• It’s nice to have a lot of space for this dance, both up and down the set and across.

B. Prefer turn single right here

C. Contemporarily the R&L thru is danced without hands for the pull by or courtesy turn. (Historically, this is questionable.)

B1. Can explicitly note that the two hand turns have different speeds or let dancers figure it out. B2. Can be a double figure eight for more experienced dancers.