|Choreography:||Philippe Callens, © 2002|
|Tune:||Waiting for Fish, Susie Secco, © 1996|
|Formation:||Four-couple progressive long set (see Comments)|
|Two couples side by side facing two couples side by side. Waltz time.|
|A||1-4||In fours, set into the centre and turn single to the right back to places.|
|5-8||Joining hands in rings of four, circle left once around.|
|9-12||The two couples on the first corners' diagonal set forward to each other and pass through right shoulder, turning individually right to end facing across; men are now in the centre, ladies on the outside.|
|13-16||Ladies move clockwise single file halfway around the men (non-active ladies cast into the movement), to end facing new partner up and down the hall.|
|B||1-4||Expanded setting: all take one side-step to the right and set right to new Partners, then take one side-step to the left and set left.|
|5-8||Half straight heys for four up and down the hall, new partners start by passing right shoulder.|
|9-12||New partners right-hand turn once around; end facing across.|
|13-16||The two improper couples (man on the right, lady on the left) half figure eight through the couple across (ladies upon meeting dance right shoulder round each other in the centre.|
Comments: This dance goes through four times and after each round, men have progressed one place clockwise, ladies counter-clockwise, so that original partners will meet halfway through the dance. Moreover, your partner at the beginning of the second and fourth round of the dance will be the same person ("your co-partner").
This dance was written for Sharon and David Green and Michael Siemon on the
occasion of their moving from New York City to Oakland, California. The choreography
somewhat suggests the long-distance moving. I presented the dance during the dedicatees'
farewell party in Brooklyn, New York, an appropriate event put on by CD*NY on
19 May 2002.
The dance itself was written 28 September 2001 and slightly revised 15 May 2002. I am indebted to Eric Allender (Skillman, New Jersey) for fine-tuning bars 9-12 of the B-part, which led to a final revision in December 2002, and to Barbara Luke (Provo, Utah) who came up with the term "expanded setting".