FISHERMAN GINGER’S REEL  (R8x32) Gaye Collin  SCD is All Around the World  1- 8 1s   turn   RH,   cast   (2s   step   up   3-4),   dance   down   between   3s   &   cast   up to face 1 st  corners  9-12 ½ Rotating Reel of 4: `1s+1st   corners   pass   RSh,   corners   pass   &   twirl   (pull   back   RSh)   & dance out to opposite corner passing 1s RSh 13-16 1s   turn   RH   1½   to   face   2 nd    corners   while   1 st    corners   dance   clockwise round set to original places 17-24 Repeat bars 9-16 with 2 nd  corners, 1s finish in 2 nd  place own sides 25-32 2s+1s+3s   circle   6H   round   to   left   (7   steps),   cross   R   foot   over   L,   pulling back LSh & chase anticlockwise to place 2 1 3 Devisers’ Notes: Bars 9-24: In   the   rotating   reel   (as   a   corner   dancer)   be   sure   after   passing right   shoulder   to   first   woman   or   man   that   you   keep   RIGHT   to   dance the    rotation.    First    couple    also    need    to    be    generous    with    their phrasing   and   allow   the   corner   dancers   to   have   the   space   to   complete the   rotation,   there   is   plenty   of   time   for   first   couple   to   complete   their part of this formation. Bars 25-32: If   this   is   proving   a   mission   with   your   group,   the   alternative   is   to dance 6 hands round and back. Again   with   this   dance,   as   with   Dave   Macfarlane's   Reel,   after   the   second   time through,   the   original   1 st    couple   stay   in   third   place   and   move   down   on   3-4   of   the second repeat. Shown on the You Tube Clip.

This   dance   was   devised   in   October   2001   to   celebrate   the   40 th    birthday   of   Brian   (Ginger)   Richards.   Brian's   three great   passions   are   Jenny   Richards   (his   wife),   Scottish   country   Dancing   and   Fishing   (not   necessarily   in   that   order!). Jenny asked us to devise this dance and put in movements that Brian loves. The   movements   in   this   dance   represent   the   collection   of   the   boat   (1-8),   the   throwing   out   of   the   first   line   (9-12), a   tiddler   escaping   (13-16,   where   the   corners   return   safely   home),   and   then   the   big   catch   (28)   which   is   hauled aboard (29-32). Gaye   &   Damon   say   “The   formations   we   have   used   were   obvious   to   us.   When   you   have   seen   Brian's   enthusiasm and the way he has introduced these movements into other dances, they are logical choices.”