B1. La Baratte is a complicated way to turn halfway in three steps:

1. Dancers turn by the right halfway with partner
2. Keeping right hands joined, also join left hands under in a crossed grip and face up (this is largely for teaching purposes). Raise joined hands an the dancer on the right twirls in front under, while the dancer on the left slides behind.
3. Dancers turn by the left halfway

B2 to A1: “1s look up; 2s look down”

Friendly:

Between A1 and A2: in the transition from the star (A1) to the balance back (A2) keep hands briefly to face diagonal

In A2: the balance back and forward is step back with right, close (or step slightly back) left, step forward with right, close (or step slightly forward) left in preparation to turn single left

Between A2 and B: in the transition from the star (A2) to the double figure 8 for the 1s, #1 left-side dancer ease out of star and go down outside without extra cast; #1 right-side dancer cast into it

Between the end of B and the repeat: for 2s from the end (leading up) to the beginning, release early so you are out at the sidelines ready to set forward to diagonal

Higgs:

This dance is best enjoyed with lots of space.

B1— Less skilled dancers can omit the turn single, easing out to the side instead.

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

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.

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.

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.

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.

B. Prefer turn single right here