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

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.

This is a USA dance—see A1 (1-4) and A2 (1-4).

Yhe dance does not progress! It is danced from the same positions at the top of each A1.

C, Hume writes,

is not a […] chain, and shouldn’t be thought of as one — thinking of it that way tends to make the men act as if they wish they were doing a courtesy turn, and walk backwards, even when they aren’t.

D: Hume:

These movements overlap, and I suggest that you walk them through separately for the ones and then the twos. In effect the half figure eights are through a non-existent couple.

Music: Hume:

Although the tune is in ¾ time it is not intended as a waltz; please don’t take it too fast. It has also been published in The Waltz Book III, collected and edited by Bill Matthiesen.

B2. Note that there are five changes of varying speed. You have four steps for the first two changes and then need to get through three changes of a circular hey in the same amount of time. It’s traditional to skip. At the end of the hey, the 1s can catch inside hands to be ready for the lead down.

B1. There’s debate about which direction the turn single should go here. TS L feels more natural to most dancers coming out of the circle, but TS R leads better into the circular hey. Encourage TS R, but emphasize that dancers may choose their direction.

Kevra:

A1. This is the first half of Cecil Sharp (swirly) siding: partners cross in an arc passing L curling in to face each other, then turn single R, ending across from home.

A2. Chevron: 1^st corners cross passing R shoulder and face straight out, then fall straight back across the set into neighbor’s place. Because the entire A1 is danced with one’s partner, remind dancers to look for new neighbors for the chevrons in the A2. Instruct those waiting out to join in by facing their partner.

A1: After the right hand turn, one dancer has to flip around to face up

B2: Note the swapped order of the crosses this time! “Thinking moment,” as Joanna says.

B. Prefer turn single right here