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Irish dance: Discipline, energy, pride, imagination and stress management
What night of the week it was I cannot recall but I do retain a mental motion picture from a smoky pub in Donegal more than 35 years ago where I had displayed before me all that was and is the Irish dance that has sustained a people's spirit and offered a physical outlet for joy and frustration.
This was my first trip up to the land of the O'Donnell's of my line and I was wary of imbuing the people around me with characteristics that were strictly of my imagination. I feared my enthusiasm might have me perceiving my kinsmen in that "stage Irish" dimension.
Being an Irish-American lad of 21 fresh from several months on the streets of Manhattan, I was having a few problems getting tuned into what was happening around me.
First, I could barely understand a word being said to me inasmuch as my normally discerning ear was having trouble understanding English being spoken. Fortunately, most of the kind of people I encountered only had to hear my Southern accent to know they had to speak slowly to a barely literate one such as myself.
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Volume 3, Issue 6
The making of a teacher
Becoming an Irish dancer requires equal parts of practice, dedication and perseverance. Here' a tale of how one young woman found her way to her vocation.
Erin Maureen Reid moved to Texas in 1986 and took up Irish dance with the Emerald School during college. When she started graduate school she dropped out of dance. But after six months she left grad school and resumed dancing in classes with Eoin O'Maoileidigh and that is when she got hooked.
Learning to dance in her adult years, Erin had strong views about adults and Irish dance. She felt that every dancer should be given an opportunity to compete and be evaluated by ability and not by one's age. She joined the McTeggart Irish Dancers in 1996 and in the fall of 1997 Maureen McTeggart-Hall, ADCRG encouraged Erin to enter the championship competition. It was also the first year the Southern Region had its Oireachtas.
Erin placed fourth in the Ladies Over 21 competition out of six competitors; the top five qualified to compete in the World Championships in Ireland. Erin knew that she might never have the opportunity to qualify again and decided to enter the competition and go to Ireland.
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Volume 3, Issue 6
Here are some tips on successful competition from the mouths of seasoned adjudicators ...
by Beth Hesser
After the New Orleans School of Traditional Irish Dance Feis Louisiane in January, a panel of adjudicators shared their views in a seminar with regard to "what the judge is looking for."
The answers to the questions were drawn from a discussion by the panel, are completely subjective, and do not represent any authority with regard to rules and regulations.
Panel members:
- Maria Wogan, ADCRG, Southern Regional Council Great Britain-Essex, England / Dublin, Ireland.
- Una Ellis, ADCRG - Regional Director, IDTANA, Southern Region - South Carolina.
- Mary Rose O'Donovan Fanswer, TCRG, IDTANA, Southern Region - Little Rock, Arkansas / Cork, Ireland.
- Neil Reagan, ADCRG, IDTANA, Southern Region - Texas.
- Marie Moore, ADCRG, IDTANA Eastern Region - New Jersey.
Can the judges really see enough to differentiate the dancers? There is so much activity and noise in the competitions; it seems they cannot possibly focus well enough.
Yes, the judge can really see both or all three dancers well enough and long enough to have an impression of their overall competence. Sometimes they may appear to have their head turned away and to not even be watching a dancer; but that means they are listening for the beats of the hard shoe, which is information they will add to their other visual observations in order to properly score the dancer.
Maria Wogan
Volume 3, Issue 6
Hard Shoes:
Mary Ann McGrath Swaim, TCRG, answers questions regarding dance submitted by readers to hardshoes@hornpipe.net
I am going to my first World Champoinship in 2002. I recently placed third at my Regional Oireachtas, and placed 11th at the North American Nationals in Toronto, but the top 10 people were from England and Ireland. What should I expect?
First, congratulations on your wins. As to what to expect at the Worlds 2002, frankly, much of the same. Particularly, this year. As you know, Worlds 2001 was canceled because of the foot and mouth epidemic. Many say that, because of that, the Toronto Nationals 2001 became, in effect, the World Championship for that year. So many overseas dancers came.
What else to expect? On a long-term basis, expect to enjoy the privilege of telling your grandchildren that you danced in the very first Worlds held off the island of Ireland. In that sense, there's no way to know what to expect at Easter time 2002, as this will be a first ever experience. So, again, congratulations - and break a leg.
I'm an Open Champion, and I still want to improve. Do you have any tips?
The very best advice I can give you is to ...
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Volume 3, Issue 6
A student's view: why I love dancing
It has been almost five years since my first Irish dance class at the O'Brien School of Irish Dance. I started late in the year and everyone else seemed to know what they were doing. I was shy and embarrassed; it was so difficult and exhausting. I didn't think I'd ever learn a step. The teacher talked about "reels, slip jigs, soft shoes, hard shoes." It was like being on another planet!
I have come a long way since that day. I really love Irish dancing and can't imagine my life without it. My dance classes are the highlight of my week; when I dance I feel confident, motivated and strong.
I have also become close friends with my classmates; We work hard together but also have a lot of fun. Dancing in ceilis has given me invaluable team building skills, especially as I don't play any sports. I have become very inspired by Celtic music and culture.
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Volume 3, Issue 6
Hornpipe awards scholarship
Christie New of McTaggart School-Dallas won the Hornpipe Dance Step Out Scholarship at the New Orleans Feis Louisianne Lagniappe in January 2002. Fifteen novice and prizewinner dancers competed in the competition.
Pictured here with Hornpipe editor, Thomas Miner, winner Christie New received a $100.00 savings bond for her performance in the scholarship segment of the dancing.
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Volume 3, Issue 6
Celebrating the life and work of a global force in Irish dance
Maitiú O'Maoileidigh epitomized the dedication, energy, commitment that started moving this powerful art form onto stages the world over
Trophies that are awarded at feiseanna usually have little meaning to those in attendance other than the recognition of a superb effort by contestants. or in this case, a dance master. To understand the significance of this O'Maoileidigh Trophy is to capture a piece of the history of Irish dancing.
It is no secret that Belfast and Cork were the first to hold provincial feiseanna (1899) therefore claiming bragging rights for all of Ireland for dominance of dance. But the truth is that dance and musical talent abounded in the ancient capital of Connacht.
When the big band sounds of Tommy Dosrey and the dance halls were all the rage in 1940's America, the hillsides of Ireland were still filled with traditional music and its own dance. But hard economic times were moving the population to the city, and further, in the form of emigration.
Irish dancing in the provinces was a popular form of entertainment and a serious sport. Competitive Irish dancing up until the years following World War II was dominated by teachers and ceili clubs in rural communities from Limeric, Cork and Kerry. It wasn't until after WWII, as the new Irish nation was developing, did there begin a shift in dancing dominance. This is the legacy of Maitiú O'Maoileidigh, a visionary of modern Irish dance.
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Volume 3, Issue 6
Dancers shine at 2001 North American Oireachtas
They came by cars, planes, trains and possibly even boats to compete at the Oireachtas that swerved their North American region.
Packed in their kits along with costumes, shoes and the necessities of Irish dance were the hopes, dreams and aspirations born of endless hours of practice, watchful encouragement of teachers, and material and emotional support of family and friends.
From the youngest to the oldest they waited with nerves on edge, making a place for a last few practice steps before their turn on the stage before the lights and the adjudicators.
Each, in turn, performed with all that was in his or her body and heart and then leave it to fate - this time - to those who are able to see the strengths and weaknesses. No matter if they are listed below or not. Each opportunity to compete, each acceptance of the challenge carves a niche in the exciting world of Irish Dance a little deeper.
To all those who participated in these wondrous events Hornpipe extends its congratulations.
Results of the 2001 North American Oireachtas:
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Volume 3, Issue 5
First Irish dance school in Mexico
SAN ANTONIO, TX - There was a stir of excitement at the San Antonio Feis held October 4 when 25 adult dancers from Mexico City competed. All were well prepared and walked away with medals in every level of competition. Apparently Eimir Ni Mhaoileidigh of the Irish Dance Center in Texas has expanded and become the first TCRG to teach Irish dance in Mexico, or Latin America, for that matter.
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Volume 3, Issue 5
What is the 'An Coimisiun Le Rinci'?
'An Coimisiun le Rinci Gaelacha' is Irish for the Irish Dancing Commission and is the central administrative authority and arbiter of standards for Irish dancing.
It was established in 1929 for the purpose of preserving and promoting Irish Dancing. The governing body consists of members nominated by Conradh na Gaeilge and representatives elected by dancing teachers.
The organization sets the qualifying standards to be achieved and the examination to be passed by those wishing to become teachers of Irish dancing. Examinations for teachers are held at least twice a year in Ireland and abroad where the number of candidates warrants it. The examination includes oral, written and practical sections covering both step dancing and team-dancing.
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Volume 3, Issue 5
Hard Shoes: Are there rules in Irish Dance and who enforces them?
by Mary Ann McGrath Swaim
Have you ever looked out an airplane window as you flew miles above the earth? Have you thought how small everything below becomes in that relative scheme of things, and how the issues of daily life turn meaningless when we ourselves are transformed into tiny dots on the ground below as others soar above it all? I have.
Then, inevitably, after landing, I'm at a store counter, or entrenched in conversation - or at a feis, and an issue arises. I try to remember that view from the plane; but suddenly, what would have been a speck from up there becomes a mammoth mountain of great significance again, once the context of the moment arrives here, now, imminent.
So which is the true perspective? I don't know. I only know that - having been a parent of a dancer, a dancer myself, a teacher, a feis organizer, and a human being caught close-up in the reality of the fray - it does no good to be reminded of the airplane window perspective when the battle at hand rages over the issue of the moment. We may want to climb Frost's proverbial birches and escape the mundane, but as our Poet Laureate reminds us, earth's still the right place for loving. And I know he meant to include living, too. None better. And so, for all our lofty, philosophical longings for clouds and silence, we come to the meat of it and must live in and with the minutia. Consider then by way of example the feis syllabus ... if we dare!!!
I would venture to say that every Irish dancing region of North America has its own hair-raising set of rule-issue buzzwords. And it may seem profound to advise Moms and Dads, dancers and teachers, to just let it all go by the by, and forget it. But when you're close to the flame, you have to move one way or the other - or you'll burn.
Let's look at some particulars.
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Volume 3, Issue 5
TCRG survives world trade center attack
In her own words; LuAnn O'Rourke describes the events of September 11
I woke up Tuesday morning tired from the first class the previous night but glad to be back to my usual routine. I let my hair go with its natural curl that morning so I could sleep an extra half hour until 6:00. On to the 7:17 train with Steve and a kiss goodbye at Grand Central as I made my way through the normal crowd of the subway to the express train down to Fulton Street. I passed St. Paul's and the cemetery like I do every morning, stopped at Fine & Shapiro for my usual cup of coffee and made my way to my office at Empire BlueCross BlueShield on the 30th floor of World Trade One. Like clockwork I was at my desk by 8:10 and sifted through new e-mails and voicemails that came in since the day before. Suddenly I heard a boom and I was thrown from my chair and the building began to shake. I thought to myself, "My God, it's an earthquake; I'm going to die here." I looked out the window of my office to see tons of papers flying in the air. Something hit the building or exploded, maybe a helicopter hit the building? I ran out of my office where everyone gathered and asked, "What was that?" I must have grabbed my cell phone because I tried to call Steve, but to no avail. I remember someone saying to me "stop shaking," and then another voice said, "Let's get out of here." Crazy as it now seems, I ran back to my office to get my bag. When I came back, everyone was gone. I ran toward my boss's office on the west side of the building and everybody had left.
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Volume 3, Issue 5
New Steps pounded from Old Steps
It is difficult for a first-time viewer to fully appreciate all the forms of song, prose, music and dance presented in the two hour production of Riverdance. "Trading Taps" is a brief but vital scene in the historical events that reveal the influence of Irish dance. After intermission we are introduced to the melting pot of America ... The Americanization of Irish dance. The transformation is defined in "Trading Taps". Cadet Bastine, the elder statesman, Aaron Tolson, dance captain, and new comer Jason Bernard are the trio of tap dancers that trade steps with the formidable Irish dancers.
Watching the tap dancers was a respite from the precise dance steps and reserved emotion displayed by their Irish counterparts. Perhaps their dancing is familiar and more identifiable as American or it may have been the animation of the dancers that ignited the audience to erupt in applause.
Where did tap dancing originate?
There are two theories of thought about the history of tap dancing. It is largely identified with African-Americans as part of their heritage developed on the street corners of American cities particularly in New York and New Orleans. Even earlier than that, before emancipation, some historians concur that when slaves were forbidden to use drums, because of the annoyance to their owners, they began to pound out rhythms with their feet.
The other theory is the influence of Irish dancing. Only in the American melting pot could Irish jigs and reels be combined with African shuffles to form a new art form. In the tenement housing of New York the Irish and Blacks occupied the lowest rung of the American ladder and were often at odds with each other for work and that may have spilled over to dancing.
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Volume 3, Issue 4
New venue for 2002 All-Irelands
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