HOP PICKER'S FEAST (II)
music in Barnes; tune is Barney Brallaghan (or any slip jig, preferably 4 part)
Jacqueline Schwab notes - from Roy Dommett's teaching.
3 cpls longways proper, 9/8, D


A1: 1-4: 1s and 2s slip-jig setting (RLRLR,LRLRL) then R&L, 2 changes,
         ptnrs facing.
A2:      That again to places


B1: 1-4: 3 cus promenade around & back to places (crossed hands, 1st cu leading, cast L)
         (skipping)
B2: 1-4: 1st and 3d cus "poussette": orbit c.clockwise aroudn the set, 
         turning clockwise as they move (ie normal ballroom direction) [skipping]

C1: 1-4: 1st wo/ 2nd man set R&L, turn R
C2: 1-4: 1st man / 2nd wo the same.

D1(C3) 1-4: 1st wo/3d man same
D2(C4) 1-4: 1st man/3d wo same
            (1st man turning to btm., 3d wo & everyone else moving up) 
             WHILE 1st wo casts to bottom.
            

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A few notes from Jacqueline

* This is a different dance (choreography and music) from Bert Simons' reconstruction in Kentish Hops, Book 2 (top dance on the page I scanned to you).

* Musicians need to play the third part of the wonderful Barney Brallaghan tune 4x (indicated here as CC and DD). (That is the tune Roy used, when he
introduced the dance, in my memory. I still remember the electric moment, when he first taught the dance, in an evening dance party at Pinewoods.

* Hardest part to teach is the transition from B1 to B2, as the first couple needs to reverse direction, in order to easily orbit the set. I have often
taught it by having the first couple preliminarily waltz around the set, in default direction for waltzing around the room (i.e., turning clockwise, as
they orbit counter clockwise). But then, when some go to using the skipping step in the Hop Pickers' dance, they then forget. Perhaps, instead, the
promenade needs to start with casting R, instead of L, but I "remember" learning it as a L cast, i.e., the man driving (which was the case in those days). 

* Note the quick progression in D2 (i.e., C4): it aims to get the 1st cu. to the btm. and the other cus. moved up, ending 2,3,1, but it requires dancers
knowing where they are going and aiming there.

* Finally, if memory serves, Roy introduced the 5-step, slip jig setting (used here). I then lifted it for my reconstruction of A3/A4 in Round about Our
Coal Fire, inspired by Tom Cook's reconstruction, but working from the original, which I found (if memory serves) in a book in the Dundee (or perhaps
Perth) Library in Scotland. Tom uses up the music with partner interaction, but the original says something to the effect of "corners foot it," except it
probably said M1/W2, then W1/M2, which I like much better, given Roy's setting. We started dancing it that way in Boston, starting in the '80's, after I
returned from one of my research trips, but some Boston callers (newer), who just looked at the Cook book and didn't know the tradition, dance it Tom's
way. I don't know the origin of Roy's setting in Hop Pickers', though.