The Fruity Peaches

The Fruity Peaches is a performance partner dance originating in The Harp-Seal of Shying. The rules of the form are applied by choreographers to produce individual dances which can be performed. The dance is accompanied by any composition of The Orange of Winter-Melons. The dancers perform in a single line. This dance is a refined artform, with seven specific moves to be mastered. The dance is punctuated by grotesque spins, with aborted moves.

• The dance begins with the introduction of the music. The dancers perform turning clockwise, moving very quickly with the music. The partners rarely make contact, communicating intent constantly through spoken cues. There are partner changes with the lead turning out clockwise.
• The dance enters a new section with the first theme of the music. The dancers perform along an intricate path, moving quickly with the music. The partners maintain open contact, communicating intent by pulling away.
• The dance enters a new section with the exposition of the first theme of the music. The dancers perform quickly with the music. The partners maintain open contact, communicating intent by pulling away constantly.
• The dance enters a new section with the second theme of the music. The dancers perform turning counterclockwise, moving quickly with the music. The partners maintain open contact, communicating intent through touch. There are partner changes with the lead turning out counterclockwise. This section is punctuated by the curved walks of the lead and independent body movement.
• The dance enters a new section with the exposition of the second theme of the music. The dancers perform along an intricate path, moving very slowly with the music. The partners maintain open contact, communicating intent by pulling away.
• The dance enters a new section with the bridge-passage of the music. The dancers perform turning counterclockwise, moving quickly with the music. The partners rarely make contact, communicating intent briefly through spoken cues. This section is punctuated by sensual facial expressions, the leaps of the follower and raised arms.
• The dance enters a new section with the synthesis of the music. The dancers perform very slowly with the music. The partners dance closely, communicating intent by pulling away constantly. There are partner changes with the lead turning out clockwise.
• The dance enters a new section with the next bridge-passage of the music. The dancers perform slower and slower with the music. The partners rarely make contact, communicating intent through spoken cues. This section is punctuated by the independent body movement of the lead and the left kicks of the lead.
• The dance enters a new section with the finale of the music. The dancers perform along an improvised path, moving very quickly with the music. The partners dance closely, communicating intent by pulling away briefly. There are partner changes with the lead advancing along the main line of motion.
• The ewaralimeca is one of the fundamental dance moves. There is a low body level with a sway from the lead and a spin.
• The recileli is one of the fundamental dance moves. There is a raised left arm with a curved walk from the lead and independent body movement.
• The quecayice is one of the fundamental dance moves. There is a raised arm from the follower with a left kick.
• The nina is one of the fundamental dance moves. There is a spin from the lead with independent body movement and expressive footwork from the lead.
• The filera is one of the fundamental dance moves. There is a straight walk with a straight-lined sway.
• The epasoyi is one of the fundamental dance moves. There is a spin.
• The asematha is one of the fundamental dance moves. There is a raised arm.

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