The Cherry of Fisher-Berries
The Cherry of Fisher-berries is a performance partner dance originating in The Clocks of Disloyalty. The rules of the form are applied by choreographers to produce individual dances which can be performed. The dance is accompanied by The Flowery Spelt-Grain. The dancers perform in a circle, moving to the music's ujel rhythm. This dance is a refined artform, with five special positions to be mastered. The dance is sensual.
- The dance begins with the introduction of the music. The dancers perform faster and faster with the music. The partners rarely make contact, communicating intent constantly through visual cues. This subtle section is punctuated by spins.
- The dance enters a new section with the passages of the music. The dancers perform very quickly with the music. The partners dance closely, communicating intent by pulling away constantly. This energetic section is punctuated by large moves.
- The dance enters a new section with the next passages of the music. The dancers perform slower and slower with the music. The partners dance closely, communicating intent by pushing together constantly. This lively section is punctuated by right leg lifts and raised arms.
- The ciki is one of the fundamental dance positions. There should be a high body level from the lead with a graceful arm carriage from the follower, an intense leftward bend and an undulating hand gesture.
- The ehim is one of the fundamental dance positions. There should be a leg lift with a high body level from the lead and a lively leftward bend from the lead.
- The iquin is one of the fundamental dance positions. There should be a high arm carriage from the lead with a sprightly left leg lift.
- The ijaspugolet is one of the fundamental dance positions. There should be a strong hand gesture with an understated arm carriage.
- The duleklonit is one of the fundamental dance positions. There should be a refined facial expression with a low body level, a graceful rightward bend from the follower and a fluid raised right arm.
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