The Orkney Longhouse

Scottish Country Dance Instruction

1- 6 1s+2s set, turn partners RH (4 bars)
7- 8 1s set while 2s set advancing to face down in centre with RH joined
9-16 1s dance down and back while 2s cross down into Fig of 8 round 3s. 1s+2s end in Promenade hold facing up
17-24 1s+2s dance Allemande
25-32 1s+2s+3s advance and retire and turn partners RH. 213

(MINICRIB. Dance crib compiled by Charles Upton, Deeside Caledonian Society, and his successors)

1- 8 1+2Cs, taking hands on the sides set, then turn partners RH for 4 bars. 1C set again in the side-line, while 2C set approaching and finish facing down in the middle of the set Right hand in Right.
9-16 While 2M crosses his partner into a full figure of eight around 3C, 1C dance down the middle and back. Both couples finish in the middle of the set facing up in promenade hold, (2C having slipped in behind 1C) as they return to the top of the set.
17-24 1+2C dance the allemande.
25-32 2+1+3Cs take hands on the side and advance and retire and turn partners with the RH.

Repeat again from second place.

(Dance crib compiled by the devisers, Gaye Collin, early 2016)

Dance Notes

Because second couple start the figure of eight from the centre of the dance, they should be able to ease back in the last couple of bars, so they are gently slipping in behind the first couple who are returning back up the middle, so they are both ready for the Allemande formation that follows.

(Dance notes compiled by the devisers, Gaye Collin, early 2016)

Keith Rose's Crib Diagram

The Orkney Longhouse - Full Size And Key To Symbols

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Dance Information

This dance was devised as a teaching aid for newer dancers, providing practice in several fundamental Scottish country dancing formations and in changing smoothly between setting and travelling steps.

The aim was to offer an alternative to the more familiar dances commonly used for instruction, while still concentrating on essential skills.

By combining well-known formations in a different way, the dance also provided an additional challenge for more experienced club members. Its first use at a club session produced considerable amusement as dancers worked through bars 9–16, where timing and coordination proved particularly important.

The experience quickly demonstrated the value of maintaining good eye contact between dancers throughout the formation.

(Dance information from notes supplied by the deviser, Gaye Collin, August 2025)

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