This piece dates to very early in Delius' career but is sometimes mistaken for a late work, thanks to its eventual arrangement by the composer's amanuensis, Eric Fenby. It began as a section of the first movement of Delius' Florida Suite, then found its way, in revised form, into the 1897 "Negro" opera Koanga, where, with chorus, it accompanied the wedding festivities of the title character and his bride Palmyra. Fenby later extracted the dance and stripped away the chorus for concert performances. Except for the distant tambourine rattling out the languid, swaying rhythm through most of the piece, this dance, like so much of Delius' early music, could almost pass for Grieg in its nostalgic folkishness. The structure is elementary: Delius takes two closely related themes and simply repeats them several times with slightly different orchestration, with a gradual crescendo building to the dance's midpoint followed by an equally gradual decrescendo, everything trailing off in a quiet coda.

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