This is the alphabetically-earlier of two imported dances accompanied by the tambrin drum at weddings in Trinidad and Tobago. Two nineteenth-century dancers both nicknamed “Kitty” popularized a form of this dance that involved scattering sand on the floor for traction. The oayache mannin is a variant of this dance set to fiddle music by the Métis named after (15[1])the Red River. Examples of music named for these dances include “Haste to the Wedding,” “The Kesh,” (15[1])a song about (15[1])a washerwoman (15[1])possibly originating from the (*) Dargason, and “Carolan’s Quarrel with the Landlady.” (10[1])The “hop” and “slip” (10[2])variants (10[1])of this dance (10[1])are in (10[1])9/8 time rather than the regular 6/8 (10[1])and are danced in soft-shoes. (10[1])This dance, along (-5[1])with the hornpipe (10[1])and reel, (10[1])comprise the (10[1])three (10[1])traditional (10[2])step dances. (10[1])The final movement of a Baroque suite (10[1])originates from, for 10 points, (10[1])what lively folk dance (10[1])from Scotland (10[1])and Ireland? ■END■ (10[3]0[1])