(Allsop’s second figure, Kennedy’s fourth figure)
Tune: Keel Row
Walk On (optional) (John Peel was a traditional tune for the walk on)
Walk on in a straight line, leading into a circle. Stop moving at the end of the music (can be either an A or an AB depending on the distance involved.)High Salute
Short intro from band. On the last beat of the intro, raise swords to touch in a ‘tent’.
High Clash (16 steps)
Walk round clockwise, clashing swords in time to music. 16 clashes.
(It’s important for Number 1 to ensure the set is aligned in the correct direction at the end of the high clash, as the move after the Circular Hey is a linear one and needs a fair bit of space.)
Circular Hey (progressive) (32 steps)
Number 1 and his partner (number 2) face each other. Dancers 4 and 5 also turn to face each other. The other two dancers turn to face the backs of number 1 and his partner (whichever one is on their side of the dance).
Number 1 passes right shoulders with his partner, taking four steps to do this. Number 4 and 5 do the same.
1 and 2 are now face to face with a new dancer. They pass left shoulders with this new dancer. Numbers 4 and 5 do not yet have a new dancer to pass. They move forward slowly and try to look active while waiting for a dancer to come towards them (they need to remember that their next pass will be right shoulder.)
Everyone is now facing another dancer. Pass right shoulders.
Continue alternating right and left shoulder passes until you are back in your starting position.
Everyone will be back in place eight (or four for numbers 4+5) steps before the end of the musical phrase. In this time, numbers 1 and 2, with swords sloped against their right shoulder, will take four steps on the spot and four backwards as a couple. Numbers 4 + 5 and 3 + 6 face across the set and lower their sword in to their partner’s hand, so that their swords are held closely together just below waist height, ready for the next move.
Over Double Swords (48 steps)
At the start of this figure, there should be two pairs of swords held across the set, and the leading couple (1 + 2) should be 4 steps away from the other dancers, looking towards them.
One and two do four steps on the spot. Then, number one and partner take four steps forwards, and then four step-hops to go over the swords. Over the first sword left foot first, then over the second sword with their left foot first. (ie. step-hop right before going over and step-hop left to go over the swords.) (L, R, L, R, R-hop, L, L-hop, R, R-hop, L, L-hop, R)
( As number one and partner start moving forwards, the other dancers lower their swords to mid-shin height. Standing a bit back from the swords will help keep heads out of the way)
As they are going over the swords, all the other dancers shuffle up the set.Next, numbers 3 + 6 take four steps back and then go four forwards and four step-hops over the swords (while the other dancers shuffle sideways).
Finally, numbers 4 + 5 do the same as the previous couples.
The move should finish at the end of a musical phrase, with all dancers facing their partners across the set
Mark time, with swords held across the set at waist height, for 16 steps.
Each couple does a Roll away from the centre of the dance. The middle couple turn in the same direction as number one and his partner. (4 steps).
Low Basket
Come out of the roll into a low basket with swords making a downwards pointing cone . Go round clockwise until the end of the phrase (12 steps).
Low Clash (16 steps)
Keep going round clockwise, clashing swords just above the ground. Remember to clash swords with an upwards motion.
Open Ring (16 steps)
Over Neighbour’s Sword
Going from outside to inside.
Each man in turn goes over his neighbour’s sword, turning clockwise to do so. Left, right, left, right step-hop, left foot over and step-hop left, right.
Then next dancer clockwise starts the sequence.
Progress clockwise around circle. The dancer in front lowers his sword almost to ground level, but the dancer going over only lowers his very slightly, so the sword is not horizontal as it is in ‘over your own’ but at a 45 degree angle.
Circle continues to rotate clockwise.
Hilt and Point Ring
Should be 16 steps. To end of phrase.
Lock
Each man (who will currently be facing towards the centre of the ring) in turn makes a 3/4 clockwise turn under his swords, ending up facing clockwise, with swords beside the outside elbow. 4 steps for each dancer. Progression is clockwise around the set. Keep circle rotating.
Everyone do a 1/4 turn clockwise to face inwards, lifting arms over head and forming lock.
(This particular lock is taken from Peter Kennedy’s version of Lingdale, rather than the 1936 film, but it’s in Dommett’s list of standard Cleveland locks. The film has a Right over Left nip-it lock at the end of all the Lingdale figures)
The Rose (16 steps)
Number 1 lifts the lock to display it and everyone goes round in a tight circle, each man’s left hand on the right shoulder of the dancer in front.
Draw
Number 1 lowers the lock, each man takes hold his own hilt in his right hand, still moving around in a clockwise circle with the left hand on the right shoulder of the man in front. The lock is held at face height until it is drawn on the last beat of the music.
Number 1 must ensure that every dancer is holding the hilt of a sword and that everyone is pulling along the line of their sword.
The swords should be pulled out a little and down, ending up touching the ground by the dancer’s feet. (with wooden swords, the out movement is particularly important. If you snap down hard with wooden swords, you may break one. We did… Metal swords can take a stronger downward snap.)
Everyone freezes.
There are no dedicated pages for Figures 3, 4 or 5 (currently)