Irish Dance And Music

Many people today have been introduced to Irish dance through stage productions such as Riverdance and Lord of the Dance. They are unaware that the demanding step dancing performance they are witnessing is only one form of Irish dance. But Irish dancing is not borne by a single thread of its solo performance form. It is a rich tapestry of interwoven solo and social dance forms: solo step dancing and step dance, the ceili dances that directly reflect more of the forms and movements of dance, set dance, which also reflects many of the same movements, but retain different aspects from those emphasized in ceili dancing, and even the waltz and other couple dances as danced by the Irish in a way that reflects the cultural dance heritage.

It is unfortunate when the supporters and practitioners of one or another form of Irish dance feel the need to reduce one of the others as "strangers", "false" or "non-traditional". This is particularly true in connection with the Irish culture, which for many centuries, were systematically suppressed and outlawed. That so much has been able to reconstruct it is close to miraculous. That as little represent 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 a social dance forms of the past century. But this in no way diminish the stature or relevance to other dance traditional dances.

There are two ways to examine the relationship between the various Irish dance forms: structurally and historically. The structural roots of Irish dance is found in step-dancing, while the historical root lies in ceili dancing. It is important to recognize that no detailed descriptions of Irish dance has taken over from before the mid-nineteenth century, and that all forms of Irish dance seen today, was present in the culture at the time. While the Irish word for dance, damhsa and Rince, derives from the French dance and English pitch [to skate on ice], respectively. But the general lines of their history is known. "The Story of Irish Dance" by Helen Brennan, Mount Eagle Publications, Dingle, Co. Kerry, Ireland, 1999 [ISBN 0 86322 244 7] contains much more information than is provided here. 

Ceili Dancing

History: Ceili dances represent an informal tradition of dance, which is common to much of humanity since antiquity. Many are structured as sword dances, round dances, line dances, and progressive line dances. The Normans have been credited for introducing the round dance IrelandIreland in the late 19th century destroyed the practice of dancing these dances so effective that when the Gaelic League decided to revive them in the 1920s, was generally lost, and new dances were consolidated to write "ar Rinncidhe Fóirne". Many of the modern ceili dances have known authors. For example, The Fairy Reel "was composed by a t-Athair around the 12th century. The "Rince Fada" [long dance] is actually a family of dances, one of which was described in the late 17th century, performed by "three persons moving abreast, each held at the end of a white handkerchief, followed by the rest of the dancers in pairs". The Gaelic Revival in 

Ó Flannagáin around 1930, to a melody written by Neil Gow for the Fife Hunt Ball in Scotland in 1802.

Structure: The Modern Ceili dance form was codified early in this century by the Gaelic League, which also was the creation of form to be used for step-dancing competitions. And often found "hands on the sides" aspect, ceili dancing today, emphasizes the height, turn-outs, dancing on their toes [not the same as ballet position], extending the legs and feet, long range and quick movements seen in step dancing so good, but a tendency to de-emphasize the use of violent and foot percussion.

Step Dancing

History: Step dance evolved as the creation of an Irish dance champions after their appearance in the late 18 century. Dancing Masters would often travel from city to city, teaching basic dance steps to the interested and able to pay for them. Since the basic folk dances had done for centuries in their absence, one must assume that their actions were motivated by a desire to learn the "upscale" dance styles then being imported from France. Dancing Masters often rewrote them dance to fit the traditional music available, and thus laid the foundation for much of today's traditional Irish dance - ceili, steps, and sets. The dance masters taught step, the 8-bar units, the majority of Irish traditional dance is constructed. The steps involved in both movements that are necessary for various dance and foot percussion, called the stroke used for rhythmic emphasis. Competitions were often held in demonstrations of the steps of the drivers was performed on a tabletop or similar small steps. Actually dancing in a confined space is perceived as an important aspect of the style that one of the greatest tributes to be paid to a dancer was to note that they could "dance on top of a plate."

Structure: The codification of style that defines modern step dance took place in the 1920s and gave a basis for judging contests. Although nobody can deny the hard work and popularity generated by competitions, but also a tendency to push the style to emphasize the extremes of preferred properties rather than the overall balance of power. The early [sean-nos] dance style step emphasized a close form and posture - legs kept together, no high kicks, little or no rotation and, of course, no trip. The preferred style of competitive step dancing evolved through the 1950s and 1960s. The availability of trucks, so small steps in the halls, and then larger stages, particularly in large cities has made it possible to perform the missions steps, circular lead-in's, sevens-and-three, and turns we see as a characteristic of modern step-dancing. 

Set Dancing in Step Dancing

Part of modern step-dancing competition involves dance steps to some particular songs. These are called "set dances". What characterizes these set dances are especially music as they danced. Instead of the conventional 8-bar structure, normally used in social dance is a dance music generally has one or two parts of the structure with 8 or 12 bars in the first part and 12, 14, 16 or more bars in the second. Associated with each of these tunes is like a solo dance. The footwork and movements are supposed to interpret particular set melody.

Set Dancing

History: The Irish Set Dances [as distinct from the established step dancing] are the evolutionary descendants of Quadril danced at the French court in the late 18 and early 19th century and other related dances from Scotland and elsewhere. These dances were brought to Ireland and taught by the early dancing masters who adapted them to Irish traditional music and modified and extended them to show their dancing skills. In time, with different regions of the country and danced the local "seen" at a crossroads and in homes, even when the Catholic Church used the Public Dance Hall Act of 1935 to try to eradicate them. While the Ceili dances have a nearly universal uniformity throughout the country as a dancer varies widely from place to place. Set dancing survived best in those parts of the country, which insisted on its traditions. Even ceili dances were held by some to be more Irish, the only dancer who could be found in places like Kerry Gaeltachta was set. The Comhaltas Ceoltóirí Éireann and the Gaelic Athletic Association began sponsoring competitions in the 1950s and 1960s and the 1980s and 1990s have seen a great revival of the popularity of dance. Today we can count approximately 100 different sets collected from locations in all parts of Ireland, although it has been said that the dancing of few of them have never been involved, including the Caledonian, Connemara, Cashel, and Sliabh Luachra.

Structure: Set dances are danced by four couples, generally [but not always] put on the sides of a square. They are usually divided into several [usually 5 or 6, but 2 to 9] "terms". Set dances are danced flat on his feet, and generally avoid the leaps and traveling movements ceili dances, although the feet of some of the dancers from Cork and Kerry are only occasionally found near the floor. In contrast to the ceili dances, dancing and keeping the large regional differences in the style of dance. Sets from Cork and Kerry lean heavily on jigs and polka musicians played as well as in those counties, while kit from Clare driving wheels, as these people are so happy. 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 a blow similar to that imposed by the dancing masters of old in their step-dancing performed on small platforms.

Drum and Couples Dancing

Very little has been written on the subject of Irish origin or adaptation of waltzes and other dances. Well-loved dances like the "stack of Barley", the "Gay Gordons", "schottische" and "Shoe the donkey" is a regular part of the program at many ceilis as rolling, which is packed with ceili or set dances. While the waltz, quadrille, or even like, maybe the round dance does not come from Ireland itself, the custom Irish 

dance form to suit their own style, leading to a lovely dancer as "Pride of Erin" and "Waltz Marguerite" or "St. Margaret's Waltz" with its set-dance-like tissue of the advance / pension, ladies chains and house-arounds.