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.

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.

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.

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

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.

A1/A2. Sets are in place, without moving forward

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.

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”

B (9-12) It can help in prompting to remind dancers that they are home at the start of this: “You’re home; set…”

B. Prefer turn single right here

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

Kevra:

B1 (3-4) After passing R with partner, turn immediately over R shoulder to face again and rejoin hands with neighbor. The movement should be precise and energetic: a quick flip to face partner while maintaining eye contact throughout, even as you take hands with your neighbor to fall back again.

B1 (7-8) Don’t fall back too far!

Originally notated improper, the corner positions feel different in A1 (who is leading the pousette)

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

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.

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.

B. Corner crossings here are what is now known as “hole-in-the-wall” style, after this dance. The dancers take a couple steps in, pivot around each other (without hands), and fall back into their corner’s place.