Folk dance moves - participating in English folk dancing is even easier if you first learn some basic moves and terminology. You will find it more enjoyable if you wear suitable clothes - so some advice is given. Updated 22 Feb 2010.

This was originally one webpage but has now been split into two. All the diagrams for Grand Square and related moves are now here.

These notes are based on those produced by many folk dance clubs. High speed 'thrashing about' on the dance floor is reserved for ceilidhs - where you need to know what you are doing! Terms in purple have special meanings and are used in dance instructions. Learn what they mean!

Jean Baptiste Poquelin Moliere » The Middle Class Gentleman » Scene II

DANCING MASTER:

All the misfortunes of mankind, all the dreadful disasters that fill the history books, the blunders of politicians and the faults of omission of great commanders, all this comes from not knowing how to dance.

"If people going through divorce or relationship breakdown learnt to dance I believe this country could completely turn around. I have saved two marriages by sending the couples to dance lessons. Many marriages break down because couples have forgotten that sense of fun they had at the beginning. Dance lessons are about £50 an hour; my fee is £285 plus VAT"

Divorce Lawyer VANESSA LLOYD PLATT's prescription for mending Broken Britain
Sunday Telegraph, 28 June 2009

A summary of terms used at English folk and ceilidh dances

The top of the set is always nearest the music (the band or other source of sound!). In a longways set the men will have their left shoulders towards the top, the ladies their right. Sometimes a caller will deem the top to be elsewhere so that sets can fit into the room better - typically when sets can fit better across the hall. In these cases the top should still be defined so that the mens left shoulders are to the top!

Longways sets can be for four couples (as shown) or for any number of couples from 3 to 8. A longways set can also be 'for as many as will' meaning as many couples as wish to dance, all in one long set.

When forming longways sets it is polite to join at the bottom. Joining elsewhere can cause chaos if the set has already taken hands four (paired off into groups of four people).

If you are told to move up the set or room you walk/gallop/promenade (or whatever) towards the top of the set or room. If you are told to walk/gallop (or whatever) down the set or room you move towards the bottom of the room. This is obvious - move up towards the top and down towards the bottom. Or sideways of course - again obvious!

In all dances, unless otherwise told, ladies are always on their partner's right (unless standing facing them). This is most important: ladies stand on the right of their partner. More succinctly: WOMEN ARE ALWAYS RIGHT. In a longways set when couples turn to face the top of the set (or "FACE THE MUSIC") they can once again hold inside hands (man's right hand holding woman's left hand) in this default position.

Calls and alternatives - and an explanation of how to do them.

Allemande Right or Left:  otherwise known as a right or left hand turn. The arm should be bent upwards and weight given to assist the turn. Often a turn is once around, back to where you started. Sometimes it is a half turn, one and a half, or two or more turns. In American Contra dance especially, it is good form to keep your thumbs out of the way - they can get wrenched out of place! You should not grip the other person's hand, the correct contact is better described as pressing hands together.

Back to Back/ Do Si Do: Face your partner and move forward passing right shoulder, move across to the right (passing back to back) and come backwards to place. In some dances the instruction may be for left shoulder. During this entire move you should continue to face in the direction in which you started. More advanced dancers can do spinning do si dos - they follow the same basic path on the dance floor but spinning on their toes as they go, ideally glancing into their partner's eyes on each synchronised rotation! If all else fails, just get back where you started!

Balance/Set:  Step to the right and step to the left twice before a swing unless the caller tells you to do it only once. In a line it may be step and hop on one foot and kick the other across, or a small step forward on your right foot and back on the left, or holding your partners right hand stepping forward and back. When the dance is in waltz time the balance is a swaying movement, forward and back, holding inside hands with your partner. In American (contra) dance the balance is forwards and back. A balance is generally a preparatory move: you will be told to balance AND swing or balance AND turn single ("turn single" is just turning around on the spot).

Box the Gnat: A couple meet giving right hands they change places with the lady going under their raised arms and turn to face each other still holding hands, this means that they swap places and end up facing back the way they came, facing each other. Swat the Flea is less common where you use left hands instead of right.

Basket: In a circle of up to eight people, men with their arms around the back of the ladies waists and ladies with their hands on the men's nearest shoulder, pivot around to the left (clockwise). Not recommended if you have slipped discs or other weaknesses - tell the other people not to be too violent. Done with some enthusiasm at ceilidhs, the rotation can be quite fast. Ladies feet have been known to leave the ground - this can be prevented (or made more difficult for men to achieve) by the ladies leaning backwards. The rotation should be around a single point on the dance floor, not wandering off in any direction, with right feet kept close in to the centre if only four people are involved. In Irish dance a very similar move is called a Christmas. This move is occasionally reversed, then left feet act as the central pivot and the rotation is anticlockwise.

California Twirl: Starting when couple are moving in the same direction side by side, man's right hand to ladies left raising hands she turns left and moves to his place while he moves a step forward and turns right and moves into her place. You both end up facing the opposite direction and have exchanged places with your partner, but still holding same hands. (Couples start and end this move both facing the same direction as each other, and side by side.) Sometimes used at each end of a dip and dive move in a longways set.

Cast: Face up (or down occasionally) the set and move up and around, away from the other line towards the bottom of the set. A double cast - face up the set and cast with your partner all the way around to the left or right using promenade hold.

Chassay: A sideways movement, either in a ballroom hold, taking two hands or nearest hand moving to the right or the left.

Corner/Contra/Neighbour/Shadow: The person next to you who is not your partner (therefore on ladies right or man's left). Will usually be of the opposite sex!

Cross over: Cross over the set passing the opposite person (often your partner) by the right shoulder and then turning to face back in.

Cross trail: Often used in square dances where one couple will pass through a couple who are facing them but in doing so they cross over (lady going first). Similar to part of a half of a figure of eight move.

Dip and Dive: Used most often in longways sets, but can feature in circles, typically double Sicilian circles (two couples facing two couples). Couples approach each other holding inside hands. One couple arches, the other couple dives under the arch. The 'active' couple who start the move may dip and dive under and over each couple all the way down a longways set until they get to the bottom. Each of the other couples may only be 'dipped' or 'dived' once. However, often the move is continuous, as couples reach the end of the set they turn round and start 'dipping and diving' in the opposite direction - thus everyone eventually gets back where they started (as in a full reel). When used in a circular formation, every couple starts at the same time (and you will be told which couples arch first). Maintain inside hand hold with your partner at all times except when turning around at the end of a longways set (but if you do a California twirl at the end you get to hold hands here too). Sometimes dip and dive is danced so fast there is hardly time to do a California Twirl at either end of the set.

Figure of eight: You and your partner dance a figure of eight around another couple. Leading through that couple (lady goes first) crossing with your partner, go round behind the person who was next to your partner and into your partner's place, (this far is a half figure of eight). For a full figure of eight you continue, crossing again with your partner to get home - ladies first in the crossing, as before.

Grand Chain: Move around the set by passing right hands with your partner, left with the next, right with the next, etc. (Men go anticlockwise, ladies clockwise). Start by facing the person you are dancing with (often your original partner) give right hands and pull by each other (passing right shoulders). Someone else should be coming towards you with their left hand outstretched. Weave the ring is a right and left grand chain but without touching hands. A wrong way grand is simply a grand chain but men move clockwise and ladies anticlockwise. There is also a running set move called 'rights and wrongs'.

Grand Square - and the related moves grand rectangle and grand triangle are explained here.

Grimstock Hey: Danced for three couples. It is essentially two sets of three-person reels side by side but synchronised, with couples holding hands when they can across the two reels. Easily explained with a diagram! Very easy to do if you think of it just as a 3 person reel (and if everyone else is in the right place). Because these are 3 person reels (see Reel/Hey below) at one end it will be right shoulders, at the other end left shoulders. Stay on your own side of the set, in the reel in which you started!

Start of a grimstock hey. 3 couples each holding hands, 1s facing down, other two couples facing up. The lines of both 3-person reels are shown as blue lines. Middle couple push away from each other, drop hands and move outwards up the set (green lines) whilst top couple move down the set (green lines). Third couple then join in as the original tops push away from each other, drop hands and move outwards to reach the bottom of the set. And so on!

Gypsy: Two dancers walk around each other shoulder to shoulder gazing into each other's eyes. Can be in either direction but usually rotating clockwise (right shoulders adjacent). Often 'melts down' into a swing - you will already be rotating in the correct direction if told to do this!

Half Pousette: A way for two couples to change places. Hold both hands with your partner as though for a two hand turn (but not crossing over your hands) and one of you pushes to move forwards while the other moves backwards, the move should be on a diagonal towards the other pousetting couple and having moved a double out (two steps out) you fall back diagonally into the other couples place. To do a full pousette you keep moving so you get home (back where you started from) having gone around a complete square.

Half/Full right and Left through: Danced by two couples, frequently facing across the set to your partner, but sometimes facing up and down the set. Each person moves along typically 2,3 or 4 sides of a square. Facing as directed you change places with the person you are facing giving right hands as you pass (by right shoulders), then turn to your neighbour on the side and change places with them giving left hands acknowledging them as you do so, do not turn your back on the person with whom you have changed position (this is known as a courtesy turn). Full R & L through face across again giving right across and left on the side to finish up where you started. This move can of course be danced without giving hands, just passing right and left shoulders. This is common in Irish set dances.

Hey: American term for reel.

Improper: Starting the dance on the opposite side to where you would normally, i.e. man on the ladies side and the lady on the men's side. In a longways set this could be couples 1 or 2, in longways sets it could be couples 1, 3 and 5, or couples 2 and 4 etc. Sometimes the 'men's line' will be told to do something despite that it contains ladies - the men's line is the one that originally had all the men in it......In a longways contra dance all first couples (couples 1,3,5,7 etc) will swop sides to become improper.

Ladies Chain:  Couple facing couple, the ladies give right hands to each other and pass to give left hand to the opposite man who helps them turn around, the ladies give right to each other again, then left to their partner who also helps them to turn round. Ladies may put their right hand behind their back, to be held by the man's right as he sweeps them around. There are many variations of this move - all end up with a lady standing on the usual right hand side of a man - so if all else fails, just get there! Ladies get most of the exercise in these moves.

Pass through: Walk forwards past the facing dancer passing right shoulders.

Promenade Hold:  Standing side by side with your partner, facing in the same direction, holding hands across in front of you, right to right, left to left, usually with right hands above left hands.

Promenade: Holding hands as above. In a circular or square formation usually the promenade is anticlockwise around the room or dance set (sometimes called Ballroom direction) which means the man is on the inside and the lady on the outside. A half promenade applies either to square sets, or a longways set, where you promenade across the set and then turn as a couple to face in.

Reel/Hey:  A weaving figure, dancers moving by passing (usually) right shoulder first then left shoulder along the line, when you get to the end you turn around (counting that as passing someone) and work your way back. Often causes a great deal of trouble but is very simple once grasped! It is essential to think of a reel as being danced in a straight line - albeit a wavy straight line. It is also essential to remember you turn around to change direction ONLY at either end of the reel, never when you are in the middle These rules can be adapted (ie: broken) for more complex reels, such as a push-off hey!

Start by facing as shown (> or <) and dance in that direction. Pass (usually) by right shoulders first with the person you are facing. The third dancer will weave in his/her starting direction to the end of the set (A) then all the way to B, then back to his/her starting position. Everyone will dance twice the distance A-B.

ALWAYS be clear which line is being danced - and with whom, as there may be several options - listen to what you are told to do! Often, start by facing your partner and passing right shoulders. Pass the next person left to left, then right to right, etc, all the time moving in the same direction. At the END of the line of dancers who are 'reeling', you turn around and on the way back pass the first person coming towards you with the SAME shoulder as you passed the last person before you turned around. Simple when you get the hang of it, and often danced quite fast. Think of it as passing right/left/right/left/turn/left/right/left etc. Some callers say you turn with a ghost person at each end of the line - this is just another way of explaining that you come back in with the same shoulder or hand that you went out with - having used up one move with the ghost. Reels can be for as few as three people or for many more! More complex reels includes dolphin reels, grimstock heys (explained above) push-off heys and Morris heys, all of which are easy if you practise them often enough. In contra dance a hey is just a reel - a different term for the same thing. Some callers will say "hey hey hey" It just means do a reel. Reels that are diagonal often give the most trouble: the rule is the same - make sure you know which straight line is involved.

I always explain that if there is an even number of people in a simple reel (4,6,8 etc) then whatever happens at one end happens at the other (right/turn/right OR left/turn/left at both ends). If there is an odd number of people in the reel (3,5,7 etc) then at one end it will be right/turn/right and at the other it will be left/turn/left.

Another example of a dance with diagonal reels is Eight of Hearts, a dance for eight people (no partners and sex doesn't matter). Part of the sequence is shown above. If taught properly, the whole dance is easy. If taught badly, it quickly degenerates into chaos because there is so little recovery time.

The dance formation is three people facing three people (shown red) with two standing back to back in the middle (shown blue). The dance is led by the blue people but the two red dancers at X and X have the most difficult role - they have to decide very quickly which diagonal reel they are in! The blue dancers start a pair of three person reels (green lines) by facing to their right and passing right shoulders (blue arrows). Immediately the green reels finish the blue dancers face left and start the purple reels (purple arrows). Dancers at X and X need to keep awake: they dance the green and purple reels with different people. So do the blue dancers - but they are in charge and this makes life much easier! Each set of reels involves only 6 people - the other two stand still.

Right or Left Hand Stars:  Usually danced sedately by two couples. Give right hands across holding the opposite person's hand, or left hands for a left hand star. Again giving weight will help. Sometimes all the men or all the women (3 or 4 or 5 or more) in a set will be required to do a part or whole right or left hand star - and sometimes as they sweep around they 'scoop up' their partners (or another person) putting arms around waists. The people being 'scooped up' are usually ladies and they should put nearest arms on the shoulder of the man who has (in some fast dances) almost swept them off their feet. This is (of course) never done intentionally. 

Square Through: This is similar to right and left through but without the final courtesy turns, but can be danced more quickly. A left square through simply starts with left hands - but is rare. Lack of the final turn leaves you facing in a different direction (90 degree out) than if you were doing full or half right and left through moves.

Star Ladies Chain: Ladies move halfway around a (square) set in a right hand star. The opposite men give them their left hand and turn them around into another right hand star to return to their partners, who turn them in the same way. Sometimes, instead of going half way round in their star, the ladies go 3/4 round - and sometimes as they are rotating in the star (in the middle of the set) the men nip smartly around on the outside to another mans place.

Star Through: With a man facing a lady he holds up his right hand (like a policeman stopping traffic) and she holds up her left so they touch palms. Each moves forward, the man turning right after passing her and the lady left after going under their raised arms, the couple end up holding hands both facing the same direction (compare with California Twirl and Box the Gnat which are both quite different). All three moves achieve a rapid change in position and/or orientation of a dancing couple.

Strip the Willow: Great fun, and often danced very fast at ceilidhs and with violent turns - especially if everyone knows what they are doing......! The end couple turn each other by the right (with an elbow hold keeping thumbs tucked under) once and a half to get to the other side, then turn the next person on the side by the left, go back to their partner for a right turn (in the middle of the set), the next person on the side by the left and so on to the bottom of the set, turning everyone of the opposite sex on the side by the left and partner by the right. At the end the working couple need to turn half (or once and half) to end up on their correct side. Remember the golden rule - right to your partner in the middle, left to everyone else on the side. Sometimes a half strip the willow is danced first - whilst one of the 'active' couple turns each person in the opposite sex line by the left (and partner by the right) as usual, the other simply walks sedately down the middle of the set doing only right arm turns. On the way back the roles are reversed. Strip the willow can be danced in a square formation - easy if everyone remembers that their 'number one person' is to their right, their 'number two' is opposite them and their 'number three' to their left. Everyone's number four is their own partner - see below!

Strip the willow in a circle (square formation) can be even more fun - two opposite men start by turning 3/4 by the right, left to their 3/4 lady (the one who was diagonally to the man's right), by the right in the middle of the square (two men again), by the left to their respective 1/2 lady (opposite where the men first started) and so on back to their partner. All the right arm turns are in the middle of the set (with a same sex person) and all the left arm ones on the sides (with an opposite sex person). Can be very fast and can be danced six times through - head men leading, side men, head ladies, side ladies all the men together, then finally all the ladies together. It is a good idea to know this sequence off by heart before attempting a teacup chain! The similarity is that each 'active' dancer interacts in turn with each member of the opposite sex going around the set in an anticlockwise direction. Once this pattern becomes ingrained, a teacup chain is quite easy.

Swing: Stand facing your partner so right shoulders are in line, place right feet side by side outside your partners to act as a pivot, then use your left foot to push you around similar to riding a scooter in a clockwise direction giving weight as you do so. Various arm holds are used, the most common is a variation of ballroom hold. Cross hand hold is used for some dances e.g. hornpipes. It is important that both dancers respect their partner's capabilities when swinging and ensure it is safe to release the hold before doing so. Can be very fast and some ladies may get seriously giddy - men should not let go until they know it is safe to do so. With practice, the man's left hand and the ladies right can be free - the only real contact being the man's right arm FIRMLY around the ladies waist (or usually some distance above it) not pulling her towards him but offering firm support. Imagine you are rotating around a point on the floor - do not move sideways in any direction. At the end of a swing the lady should be on the man's right and facing in the same direction. All swings can be done at a greater rotational speed if the dancers keep close to each other - holding each other far apart means that a lot of rotational energy has to be built up for a given angular velocity.

Teacup Chain: This is best taught for side or head couples alone in the first instance. I may add a few more diagrams sometime but the full American Square Dance sequence is shown in an animation on this page.  However the last turn is shown as a courtesy turn. Sometimes (including in one or two Irish set dances) it is a simple left arm turn instead so all the men end up standing where their partners normally stand (and vice versa). The men can then lead the dance but starting from the ladies positions. They then follow EXACTLY the steps that the ladies took when they led the dance. Note that there are two sets of starting moves - each pair of opposite women (or men) do different things. My own method of teaching a teacup chain is explained below. It is not possible easily to CALL the dance because each set of dancers will be 'out of phase' with the other set except half way through! So it is best learnt and then just danced!

Teacup chain: it can be helpful to visualise the route taken by an individual dancer. Here a woman starts from the bottom of the diagram, moves across the set (track 1) to do a right arm turn with the man to her right, across to the middle of the set (arrowed) to do a left arm turn with another woman (who will be approaching her from the left of the set), to the man who was originally opposite to her (track 3) for a right arm turn, then cutting across the corner of the set again (track 4) to do a left arm turn with the man originally to her left, then to the centre (arrowed) for a right arm turn (with the other woman) and finally back to her partner (track 6) to finish with a left arm (or courtesy) turn. This can be practised with just two opposite men or women leading. In the full dance, all four men (or women) are moving at once. Unlike in a strip the willow square, there are two right and two left turns on the sides, and one of each type in the middle. The other two ladies will at the same time be doing something similar but different! (see diagram below)

The other two 'active' dancers will start the teacup chain by moving into the centre of the set. Thereafter, whilst the moves are similar they are in a different order. Again only one dancer's tracks are shown. They visit each man in turn (anticlockwise around the set) but instead of getting to the first one (on their right) directly across the corner of the set, they go outwards from the centre. Thus, the two ladies opposite each other start by moving to the centre (track 1 for the dancer shown and track 4 for the lady opposite) for a right hand arm turn (star) 3/4 round and then (track 2) to a left arm turn with the man on the right. After that it is all very similar, but note that it is only pairs of 'active' dancers who do turns in the middle of the set - not all four together. Viewing the animated sequence makes this clear. If the timing is correct, all four 'active' dancers will be turning their opposite people (on the opposite side of the set to where they started) at the same time (and all with right arm turns), and also finishing (with their partner and left arms turns) at the same time. Turns on either side will not be synchronised.

I have my own way of teaching a teacup chain - and I think it's easier than any other method!

Here goes... :

Start by teaching a strip the willow in a square set. This is easy (see above within main text) - two opposite men (say) move to the middle of the square set, do 3/4 a right arm turn and then go to the lady who was originally on their right to do a left arm turn. This whole sequence (a right arm 3/4 turn in the middle and a left on the side) is defined (by me and for the purposes of teaching a teacup chain) as MIDDLE. A complete strip the willow dance sequence for (say) the head men can therefore be taught (and called) as MIDDLE, MIDDLE, MIDDLE, MIDDLE. This involves eight arm turns. If all four men (or women) do it together, they just do a 3/4 right hand star in the middle instead of a 3/4 right arm turn - again this is easy.

The difference in a teacup chain is that there are only 6 arm turns to get back home and it can be left or right in the middle or on the side. Just remember you always start using a right arm and each arm is used alternately (right, left, right, left, etc) no matter where you are at the time.

There is also a new move to define : I call it CUT. If a dancer is told to CUT this means cut across the corner of the square and do an arm turn (may be right or left) with the man/woman who is on her/his right - the same person the dancer would have gone to when doing a strip the willow dance. The move CUT leaves the dancer at the same place as at the end of a MIDDLE move - but it has taken less time because the 3/4 arm turn in the middle of the set was missed out.

Now explain that one pair of (say) head men doing a teacup chain will dance CUT MIDDLE CUT MIDDLE whilst at the same time the other pair of men (the side men) will dance MIDDLE CUT MIDDLE CUT - each will dance 6 arm turns to get home.

Once the moves CUT and MIDDLE are understood, dancing a teacup chain is as easy as a strip the willow in a square. When taught differently, it sometimes perplexes even experienced dancers!

It can now readily be understood that a teacup chain is synchronised only at the start, half way through and at the end of the sequence. At the start, everyone is with their partner. Half way through every active dancer is doing a right arm turn with the person of the opposite sex who was OPPOSITE to them when they started. The dance is 'in phase' at this point because each set of dancers have travelled the same distance - one pair having danced CUT MIDDLE the other pair MIDDLE CUT. At the end of the sequence each dancer will be doing a final left arm turn with their partner, and at the same time!

Unlike in a strip the willow dance, the four people who are standing still waiting for dancers to come towards them need to keep awake - they may be required to give a left or right arm.

There are many other moves, including a whole group called Kentucky Running Set or just Running Set. Irish set and ceili dance is different again, and with different terms sometimes being used to denote similar or identical moves.

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Grand Square - and the related moves grand rectangle and grand triangle are explained here on a supplementary page.

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Dance Figures

Becket formation A longways set, but instead of partners standing opposite each other they stand side by side with the lady on her partners right facing across the set to another couple. The progression is up one side of the set, across the end, and back down the other side.

Circle A ring of couples facing inwards, each lady on her man's right, as usual. It can be a small circle of two or three couples or a large circle of 50 or more couples all round the outside of a large dance hall.

Longways Set A line of dancers, with partners facing across the set taking hands four from the top forming rings of four, first couples are No.1 and second couples No.2 (1's moving down the set (away from the music) and 2's up, until you reach the end and have nobody to dance with (you are then a neutral couple), though in some dances they have to be awake to join in some bits even though they are neutral. Wait out one turn of the dance and come back in, if you are at the bottom you come back in as 2's and at the top as 1's. Some dances have the first couples swap sides, this is known as an improper set (in American dancing a contra formation), remembering to swap sides again when you get to the end and change numbers.

Longways Sets A certain number of couples in a Longways set, i.e. 3 couples or up to 8 couples in one set.

Sicilian Circle Couple facing couple around the room in a large circular formation. Remember which way you are facing around the large circle - you will usually move only in that direction to progress to subsequent couples coming the other way. There is also a Double Sicilian Circle - this has two couples in each line (4 people facing four people). If these dances go on for long enough each couple will dance with every other couple who start facing in the opposite direction. In Double Sicilian Circle dances, it is common for couples to change tracks after each turn of the dance. For example, the couple facing anticlockwise and starting on tracks 1 and 2 (man on 1, woman on 2) may find themselves on tracks 3 and 4 - and again facing anticlockwise to start the next turn of the dance. They will then swap back again for the third turn of the dance. It can be important to remember which track you are on and to keep the dance set neat and correctly positioned on the dance floor. DURING each turn of the dance, any dancer may be facing either anticlockwise or clockwise - it is only at the start of each turn of the dance that each couple will be facing in their original direction. 

Sicilian Circle - couple facing couple all round the large blue circle around the dance hall. Partners usually hold inside hands to start - women to the man's right as usual.	A Double Sicilian Circle- two couples side by side, facing another two couples. The pattern is repeated all round the blue circle.	It is important to know which of the four blue circles you are in at any time! A man may move (as shown) along track 1, go across to track 2, and then return home.

Square Set Usually four couples in a square formation, each couple forming one side of the square. The couples are numbered anticlockwise, number one nearest the music. Couples facing up and down the room are head couples those facing across the room are side couples. In some dances there can be two side couples on each side, but only one head couple at either end (total six couples). It is still then called a square set despite being rectangular......In Irish dance the head couples are called top couples (and the sides are still sides).

If a dance 'falls apart' then reform the set and wait for an appropriate time to restart, never drop out and sit down!!

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