Figure 1.--All Irish dances begin with the dancers in this standard position with one foot forward. |
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The general public has been introduced to Irish dance relatively
recently through stage productions such as Riverdance or Lord of the Dance.
They are unaware that the demanding step dancing performance they are seeing is only one form of Irish dance. But Irish dance is not carried by the single thread of its solo performance form. It is a rich tapestry of interwoven solo and social dance forms: the solo step dances and set step dances, the ceili dances that
directly reflect several of the forms and movements of the step
dances, the set dances that also reflect many of these same movements
but retain different aspects from those emphasized in ceili dances, and even the waltzes and other couples dances which are danced by the Irish in forms that reflect the cultural dance heritage. There is considerably controversy within the Iruish dance community. Some dancers feel strongly that their form of dance is more important than other forms. The major controversy revolves around what is "authentic". There are two different ways to explore the relationships among the various Irish dance forms: structurally and historically. The structural root of Irish dance is found in step-dance while the historical root lies in ceili dance. Unfortunaely virtually nothing is known of ancient Celtic dance or even dance in Ireland as late as the 18th Century. Ceili dancing is popular with older Irish dancers as well as many who never danced seriously as children. Ceili dancing in general is less competive than step dancing. Much of what the general public thinks of as Irish dancing is step dancing. Irish step dancing evolved as the creation of Irish dancing masters, subsequent to their appearance in the late 18th century. The codification of style that defines modern step dance took place in the 1920s and provided a basis for judging of competitions. Although none can deny the great response and popularity induced by competitions, they also tend to push style into emphasizing extremes in preferred characteristics rather than overall balance of effect. Irish step dancing has a distinctive, recognizeable timing. Irish dancing includes a wide range of different types of dancing, including solo, pair, and group dances. A perennial controversy between set dancers and ceili dancers concerning which form of dancing is "more traditional" or "more Irish". This basic issue leads to some of the most controversial subjects in the set dancing world. Very little has been written on the subject of the Irish origins or adaptation of Waltzes and other dances.
The general public has been introduced to Irish dance relatively recently through stage productions such as Riverdance or Lord of the Dance. They are unaware that the demanding step dancing performance they are seeing is only one form of Irish dance. But Irish dance is not carried by the single thread of its solo performance form. It is a rich tapestry of interwoven solo and social dance forms: the solo step dances and set step dances, the ceili dances that
directly reflect several of the forms and movements of the step dances, the set dances that also reflect many of these same movements but retain different aspects from those emphasized in ceili dances, and even the waltzes and other couples dances which are danced by the Irish in forms that reflect the cultural dance heritage. The structural unity of the step, ceili, and set dances were brought home to one Irish dancer as a powerful visual metaphor in a demonstration given by one of his dance teachers (Megan Downes at the Irish Arts Center). She danced the "lead-around" to reels, gradually varying the emphasis to show the step-dance style, the ceili-dance style,
and the set-dance style, smoothly and without any abrupt change in style, showing the strong ties among what may appear at first to be rather different forms of dance.
There is considerably controversy within the Iruish dance community. Some dancers feel strongly that their form of dance is more important than other forms. The major controversy revolves around what is "authentic". It is unfortunate when adherents or practitioners of one form or another of Irish dance feel the need to diminish one of the other forms as being "foreign", "inauthentic", or "non-traditional". This is especially so in the context of the Irish culture which, for many centuries, was systematically suppressed and outlawed. That so much has been able to be reconstructed
is close to miraculous. That so little represents an unbroken continuity is tragic. Of the nearly 150 ceili and set dances danced today, only four have a record of being continuously used as social dance forms for the past century. But this in no way lessens the stature or meaningfulness of the other dances as traditional dances.
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There are two different ways to explore the relationships among the various Irish dance forms: structurally and historically. The structural root of Irish dance is found in step-dance while the historical root lies in ceili dance. Unfortunaely virtually nothing is
known of ancient Celtic dance or even dance in Ireland as late
as the 18th Century. Historians have not been
able to find detailed descriptions of Irish dances before
the mid-19th century, and that all of the forms
of Irish dance seen today were present in the culture by then.
Even the Irish words for dance, damhsa and rince, derive from
the French danse and the English rink (to skate on ice), respectively.
However, the general outlines of their history are known.
Ceili dancing is popular with older Irish dancers as well as many who never danced seriously as children. Ceili dancing in general is less competive than step dancing.
Ceili dances represent an informal tradition of dance that is common to much of humanity since prehistory. Many are structured as sword dances, round dances, line dances, and
progressive line dances. The Normans have been credited for introducing
the round dance into Ireland around the 12th century. The "rince fada" (long dance) is actually a family of dances, one of which was described in the end of the 17th century as performed by "three persons moving abreast, each of which held the end of a white handkerchief, followed by the rest of the dancers
in pairs". The Gaelic Revival in Ireland in the late 19th century destroyed the practice of dancing these dances so effectively that when the Gaelic League decided to resurrect them in the 1920's, they had generally been lost and new dances had to be codified to write the "Ár Rinncidhe Fóirne". Many of the modern ceili dances have known authors. For example, the "Fairy Reel" was composed by An t-Athair Ó Flannagáin around 1930, to a tune written by Neil Gow for the Fife Hunt Ball in Scotland in 1802. It is interesting to compare these to the dances described in "A Handbook of Irish Dances" and some of us will be quite interested to read the publication resulting from the Dundalk Manuscript.
The modern Ceili dance form was codified early in this century by the Gaelic League who were simultaneously establishing the form to be used for step-dancing competitions. As well as the often noted "hands at the sides" aspect, ceili dance today emphasizes the height, turn-out, dancing on the toes (not the same as the ballet stance), extension of leg and foot, long reach and quick movements seen in the step dances as well, but tends to de-emphasize the use of battering and foot percussion.
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Irish step dancing evolved as the creation of Irish dancing masters, subsequent to their appearance in the late 18th century. Dancing masters would often travel from town to town, teaching basic dancing steps to those interested and able to pay for them. Since the basic folk dances had been done for centuries in their absence, one must suspect that their appearance was motivated by a desire to learn the "upscale" dance styles then beginning to be introduced from France. The dance masters often paraphrased these dances to fit the traditional music available and, in doing so, laid the basis for much of today's traditional Irish dance--ceili, step, and set. The codification of style that defines modern step dance took place in the 1920's and provided a basis for judging of competitions. Although none can deny the great response and popularity induced by competitions, they also tend to push style into emphasizing extremes in preferred characteristics rather than overall balance of effect. The early (sean-nos) dance style for step emphasized a close form and posture - legs kept together, no high kicks, little or no turning and, obviously, no traveling. Irish step dancing has a distinctive, recognizeable timing. For those who are musically inclined and care about the timing of these dances: the reel is in 2/4 time; the light jig is in 6/8 time; the slip jig is in the complex 9/8 time; the hornpipe is also in 2/4 time, although with a different structure than that of the reel. Irish dancing includes a wide range of different types of dancing, including solo, pair, and group dances. Round and Long dances are group dances, requiring a minimum of four dancers depending on the dance. Round dances are known in step dancing as figure dances, e.g., six-hand reel, eight-hand reel, four-hand jig.) There are
four basic Irish step dances (solos): reel, (light) jig, slip jig, and hornpipe. There are, of course, many many variations of reel, light jig, slip jig, and hornpipe steps. Each dancing school has its own versions of
the steps.
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Part of modern step-dancing competition involves the dancing of
steps to certain particular tunes. These are called "set dances". What characterizes these set dances are the particular tunes to which they are danced. Instead of the conventional 8-bar structure usually used in social dancing, the set dance tunes generally have a one or two part structure with 8 or 12 bars in the first part and 12, 14, 16, or even more bars in the second. Associated
with each of these tunes is a corresponding solo dance. The footwork and the movements are supposed to particularly interpret the set tune.
Set dancing is the social form of Irish step dancing done in groups. Set dancing is very similar to step dancing. The rules as a result are not as strict as with formal step dancing. As much as Irish dancing has become a symbol of Ireland, it is interesting to note that the very conservative Catholic Church in Ireland did not always look favorably on dancing. Set dances are danced by four couples, generally established on the sides of a square. The dancers are generally divided into several, commonly 5 or 6, but ranging from 2 to 9 'figures'. Set dances are performed flat on the feet, and usually avoid the dramatic leaps and traveling movements of the ceili dances, with some regional variation. One observer reports that 'the feet of some of the dancers from Cork and Kerry are only occasionally found near the floor.' Set dances tend to retain regional variations in dancing styles. Sets from Cork and Kerry tend to emphasize the jigs and polkas so popular in the area. The sets from Clare are more likely to feature the reels popular there. Sets, like the Clare Lancers, from North Clare are commonkly danced with a smooth almost gliding style while those from other parts of Clare tend to be danced with sticatto battering often taught by the old-school dancing masters performed on small platforms.
Set dancing is usually done in groups, it's very similar to Irish Step Dancing but it's not as lively. Dancers walk and sidestep as they dance, kind of like square dancing. The reason of course is that Irish set dancing was brought to America by Irish immigrants and was part of the dance tradition from which square dancing developed. Set dancing is very low impact and there isn't a need to strictly stay on time with the music, unlike Irish Step Dance in which you have to memorize dances, make every beat stay with the music, and repeat your individual steps, not group dances (there are group dances in Irish Step Dance, but again they're stricter and all the regular Irish Dance rules stay in place). In Irish Dance, you need to always lift, stay on your toes and, keep your back straight, which is why most step dancers are young children. Set Dancing is more laid back, and can be done at any age.
The Irish Set Dances (as distinguished from the set step dances) are the evolutionary descendants of the Quadrilles danced at the French court in the late 18th and early 19th century and other related dances from Scotland, and elsewhere.
These dances were brought to Ireland and taught by early dancing masters who adapted them, to Irish traditional music and modified and elaborated them to show off their dancing prowess. In time, various regions of the country retained and danced the local "set" at crossroads and in homes, even when the Catholic Church used the Public Dance Hall Act of 1935 to try to stamp them out. It survived best in those parts of the country that held most strongly to their traditions.
Although the ceili dances were held by some to be more Irish, the only dances that could be found in places like the Kerry gaeltachta were the sets. The Comhaltas Ceoltóirí Éireann and the Gaelic Athletic Association began to sponsor competitions
in the 1950's and 1960's and the 1980's and 1990's have seen a large-scale revival of the popularity of set dancing. Today, we can count approximately 100 different sets gathered from localities in all parts of Ireland, although it has been said that the dancing only four of them has never lapsed: the Caledonian, Connemara,
Cashel, and Sliabh Luachra.
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Set dances are danced by four couples, generally (but not always) arranged on the sides of a square. They are generally divided into several (usually 5 or 6, but ranging from 2 to 9) "figures". Set dances are danced flat on the feet, and generally avoid the leaps and traveling movements of the ceili dances, although the feet of some of the dancers from Cork and Kerry are only occasionally found near the floor. Unlike the ceili dances, set dances retain and feature strong regional variations in the style of the dance. Sets from Cork and Kerry lean heavily on the jigs and polkas played so well by the musicians of these counties, while the sets from Clare feature the reels of which those people are so fond. Sets, like the Clare Lancers, from North Clare are danced with a smooth, gliding style while those from other parts of Clare are danced with battering reminiscent of that introduced by the dancing masters of old into their step-dancing performed on small platforms.
In set dancing, ladies start right-left-right, while gents
start left-right-left. This of course is for a very practical reason. That way they won't be standing on each others toes!
A musiscian provides a short assessment of the music used for sets, "1) Almost any polka, slide, reel, jig, hornpipe etc will work but some are more suitable for playing for sets than others 2) To find a suitable tune from scratch, play the required tune type at the recommended tempo and if it feels easy to play and the rhythm is good and solid sounds then use it! If it feels too slow/ too fast or the
rhythm is hard to control at the required tempo - don't use it. When you find a suitable one, then try and match it with another (usually 2 or more are needed) A good match means each tune transitions easily from one to another without "appearing" to speed up or worse slow down. Some tunes when played at exactly the same tempo can appear to be much faster or slower in relation to each other. Key changes from tune to tune also adds to the quality. On a lighter note, there is also the "Ballykillferret Tune Triangle" where for example "Soldier's Joy" can be
played as a Polka, a Reel or a Hornpipe just by changing the emphasis
and the tempo. And some good musicians and dancers can not work out if "Walsh's Hornpipe is indeed a hornpipe or a slide. 3) Good solid rhythm on a piano/guitar/bodhran accompaniment can add to the quality. NEVER use bad accompaniment!! 4) The band leader or the Accompanist should use a "blinking" metronome to ensure a true start at the chosen tempo. 5) These are coomonly used tempos: a) Jigs 130 beats per minute (dotted quarter notes per minute)
b) Slides 145 beats per minute (dotted quarter notes per minute) c) Polkas 140 beats per minute (quarter notes per minute) d) Flings 180-200 beats per minute (quarter notes per minute) e) Waltzes 180 beats per minute (quarter notes per minute) f) Hornpipes 200+ beats per minute (quarter notes per minute) This tempo
is tough so choose easy hornpipes!! g) Reels 230 beats per minute (quarter notes per minute) This tempo is tough so choose easy reels!!" As with dance steps, there is disagreement among the Irish dance community as to the music. Some would preper more modern music while others like the tradition involved..
A perennial controversy between set dancers and ceili dancers concerning which form of dancing is "more traditional" or "more Irish". This basic issue leads to some of the most controversial subjects in the set dancing world. Utltimately there may prove to be an acceptable compromise between "tradition" and "change". Indeed, many believe that dance enthusiastsd should accept the responsibility of learning how the sets were originally danced through workshops and classes. Many also believe, however, think that the heavy burden of tradition should not necessarily restrict the many dancing styles
seen today at ceilis.
Very little has been written on the subject of the Irish origins or adaptation of Waltzes and other dances. Well-loved dances like the "Stack of Barley", the "Gay Gordons", "Schottische", and "Shoe the Donkey" are a regular part of the program at many ceilis, as are the waltzes which are interspersed with the ceili or set
dances. While the waltz, like the quadrille or even, perhaps, the round dance may not have originated in Ireland itself, the Irish adapted the dance form to suit their own style, leading to lovely dances like the "Pride of Erin" and the "Waltz
Marguerite" or "St. Margaret's Waltz" with its set-dance-like weave of advance/retires, ladies chains, and house-arounds. Many of the American dancing teachers are Irish dancers. They are passing on the lovely dances on to another generation in a world far away from the Dublin and other Irish cities where they
learned them as children.
Cipollo, Kaelyn. E-mail message, August 18, 2004.
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