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 the Red River. Examples of music named for these dances include “Haste to the Wedding,” “The Kesh,” a song about a washerwoman possibly originating from the (*) Dargason, and “Carolan’s Quarrel with the Landlady.” The “hop” and “slip” variants of this dance are in 9/8 time rather than the regular 6/8 and are danced in soft-shoes. This dance, along with the hornpipe and reel, comprise the three traditional step dances. The final movement of a Baroque suite originates from, for 10 points, what lively folk dance from Scotland and Ireland? ■END■
ANSWER: jig [or port; or port-cruinn; accept gigue or giga; accept sand jigging; accept Red River jig; accept hop or slip jig; accept treble jig; accept light jig; accept single or double jig; prompt on reel before read by asking “what other dance was that traditionally conflated with?”; prompt on sanding]
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= Average correct buzz position