Four dancers, numbered 1,2,3,4 clw, stand in a square facing a fifth dancer in the middle, who faces the gap between numbers 1 and 4
The set is now inverted ; repeat using the bottom (3c) as new top. In 6 times through each couple dances once as 1c from »each hemisphere«.
Note: On [24], some dancing couples choose to face in after the RH turn and then cast into the next figure.
Espagnole: both W lead RHJ to M side, cross and cast back to exchanged places while{4} Men cross to W side, lead RHJ back to M side and cross to exchanged places ; all turn P EH (2,1)
4c+5c+6c start on opposite sides (1,2,3,4x,5x,6x)
A quote: »the key that has always made this dance so wonderful is the flirting that dancing couple can do on bars 9-10 and 13-14 ; <...> if you actually set to your partner, advancing and at the last moment just slipping in BtoB to face and turn the appropriate corner, it's tremendous fun. The moment is all too rare, as apparently few teachers teach it this way, but it's a moment I savour.
In 17-32, the corners traditionally set one bar to the person you just passed, then one bar to the next person to pass. In a variant for [19-24] 1c turns BH in PdB.
Note: This crib follows the current way of dancing. In the original instructions, the promenade [25-32] is cclw. Bill Hamilton said in 'hindsight' this promenade should be clw, but preferred not to change the official instructions. Bill disapproved of another variant, where the circle [121-128] is continued to the R only.
For the 21st anniversary of the Ilkley SCD club.
Pronunciation Kamera Ha or (better) Kem ar-a haa oo.
Note: Cosh explicitly tells 1c to pass Lsh in [9-24]; however the Rsh pass is quite common, and nicknamed »Mairi's Divorce«.