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,” (15[1])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 (10[1])9/8 time rather than the regular 6/8 and are danced in soft-shoes. This dance, along (-5[1])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■ (10[1])