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Fleur-de-Lis

Some years prior to her death in 2010, Fried was approached by a teacher who claimed that the dance around in the A music, bars 5-8, of her 1994 dance Fleur-de-Lis were undanceable. As Fried told me at the time, the complaint was that “no one in our group can get to their place in the music available.” Both Fried and I knew that the move was certainly doable, as this video shows. The not-so-secret sauce is good footwork, in this case a lively skip change of step, which our dancers display with admirable skill. Set size, tempo, and the track one follows are also key. Staying “close to the post,” that is, to one’s partner as one dances around him or her, is helpful. A “cheat” I sometimes offer dancers is to not return to place during the initial turn single in A 1-4 but to use the turn single to get a head-start on the dance around. These factors are all elements of good dancing, not just here but throughout ECD. Fleur-de-Lis has some very satisfying contrasts to recommend it: the burst of energy in the dance around in A, followed by the calm side-by-side siding in B1, with the line of the general set in side-by-side right shoulder up and down the center line transforming into lines of four dancers across during the side-by-side left shoulder. The coy turn single of the women at the very end of the progression, in which they momentarily lose eye contact with partner, foreshadows a similar move in Fried’s The Bonds of Harmony, where the little theater of eye contact is on full display. In 1994, the dance’s dedicatee, Lise Dyckman, left the east coast for the west, where she has been a caller and most gracious partner to many lucky dancers who live in and near her community. But she didn’t get to leave New York without a party thrown by the Greens at the General Theological Seminary, where David was librarian for many years. A poster of that surprise party appears briefly in the video’s opening. We were extraordinarily fortunate this year to have the band Alchemy provide the thrilling music for this dance and the 49 others done during the weekend. I am sincerely grateful to them and to all the dancers at Lenox who helped bring this dance to life. –Paul Ross