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2004 New England Oireachtas Results
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Volume 6, Issue 6
Pilates: Simple exercises that can create change
Karen Sanzo, PT, Pilates Teacher
Point awareness, strengthen hips and legs for higher jumps. Do these any time, anywhere.
One: Angle / Foot Awareness
Rolling the arch of your foot over a hard, rubber ball can create point awareness in your foot, in addition to stretching the posterior leg muscles. Keep your heel on the ground as you place the ball under your arch (Figure 1). Make sure your entire leg stays as vertical as possible over your ankle. Gently press your forefoot over the ball as if to point your toes down towards the floor (figure 2). It's important, here, to work the forefoot, as opposed to simply pressing with your body weight to smash the ball. Work the muscles on the sole of the foot, especially the tight one that is just under your big toe. Resist the urge to roll on the outside of your foot. Repeat 8 - 10 times with each foot.
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Volume 6, Issue 6
Dancer to Dancer: Anatomy of a Ceili Team
by Erin Reilly
If you asked me a couple of years ago - would I still be in Ceili dancing as a college sophomore - I would have said "no way!" I would be too busy with courses, living in Washington, DC, and just know there would be no time. Yet here I am; a member of the first place Peter Smith School Senior eight-hand and four-hand. So Go Figure! (pun intended).
I feel completely different about Ceili dancing now than I did as a child. The steps were so easy and repetitive then and there seemed now ay to express my individuality. I felt it was my fault when my class messed up because I rarely concentrated. I am sure team members felt the same way about themselves. However, I eventually came to love the aspects of group dancing I despised as a child.
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Volume 6, Issue 6
Lilliput Feis, Mullingar, Ireland
Taking a trip to Ireland can be an itinerary of tourist stops, pubs, castles, museums and adventure. The unexpected surprise of happening upon an event or meeting a fascinating person is common place in Ireland. Rarely have there been recollections by travelers without a story that abounds with pleasure of a chance meeting. Of course, it would require straying from the norm to find such an experience.
Recently the Baker family of Morgantown, West Virginia took a trip to Ireland and searched out a feis since their young one, Kathryn, is an aspiring champion. She is a student of Maxine Olson TCRG. After visiting an Coimisiún headquarters on Harcourt Street, Dublin, they were informed of a feis not far away by American standards - only 70 miles. And so it was that they ventured into County Westmeath toward the lakes region to attend the Lilliput Feis at Mullingar.
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Volume 6, Issue 6
Feis Etiquette
by Kris Lambert
The feis, or feisianna as it was once called, has taken many different forms since the original clan gatherings to celebrate the changing seasons. The fête is the medium for like-minded people to share what they love to do: sing, play music, paint, sculpt, bake, impart stories, preserve the Irish language, and of course, dance. Many modern feis organizers attempt to preserve the beloved traditions in the form of soda bread, Celtic art, essay competitions, evening celies, etc. However, for most Irish dance families, feis is primarily a dance competition; a showcase of learned skills for an audience.
In its purist sense, competition can be instrumental in the development of character. It is about taking pride in personal accomplishments. It is putting forth your best, then accepting the outcome. There are many opinions concerning the concept of competition. Though not my intention to debate the subject, I believe as adults, parents, teachers and adjudicators, we are honored with the job of building a healthy competitive spirit within our children. The thirty to ninety seconds of actual dancing at a feis is only part of this goal. The behaviors before and after competition truly demonstrate the success or failure of our given task. With this in mind, I wish to examine and make observations regarding the behaviors often seen at a feis; some heart-warming and moving, others inappropriate and unacceptable. I also challenge each parent, teacher, adjudicator and dancer - evaluate your own behaviors and make changes wherever needed.
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Volume 6, Issue 6
John Cullinane: Legend of Irish Culture
Thomas Miner
One of the most prolific writers of Irish dance history is John Patrick Cullinane. His history books and archives are often referenced, as he is the authority on the topic.
The Cullinane Archive Collection, a private collection, is believed to be the only Irish dance material archive in the world. The acquisition consists of some 4,000 items all computer catalogued. Cullinane collects, photocopies, catalogues and stores the 4,000 objects and admits the costly business is a labor of love.
The cherished collection includes sixty plus tape recordings with the great dance teachers, many of whom are deceased (including Aine Tuohy of Limerick, Cormac O'Keeffe of Cork, Essie Comnnolly of Dublin, etc). The photograph collection consists of some 800 or so photos dating from 1890, many of which were featured in his book on the history of Irish Dancing Costumes. Rare items in the archives include: an early minute book of the Irish Dancing Commission, original documentation of the Commission's TCRG and ADCRG qualifications set up, minutes of the very first Commission meeting seventy years ago, Tailteann Games certificates from 1924, 1928, and 1932, the original All-Ireland Oireachtas hand cut medal, programs for feiseannas as the 1908 London Feis, and several thousand other items.
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Volume 6, Issue 5
Dance Health and Fitness: Pilates: Finding the strength within
Karen Sanzo, PT, Pilates teacher
Lesson Three — Creating key connections for effective exercise
A body in balance knows when to stabilize and how to move. Taking time to learn, practice, and understand movement fundamentals can expedite your Pilates learning curve in addition to enhancing your current exercise practice.
One: Teaching the deep belly muscles to work independently.
To advance this thought, we now need to discover spinal support during mat exercises and upright activities.
Lie flat on your back, with bent knees, and relax everything to start. There is a very natural small curve behind your neck and lowest back. This neutral alignment is a soft feeling where you are neither pressing or tucking. Inhale, and as you exhale, relax your chest and shoulders and begin to sink your belly as you "gently" pull your belly button upwards as if to take your belly up towards your heart. If you feel your back press down to the floor, then you are actually using your back to work your belly. Your back shouldn't feel overly arched OR overly tucked under. The weight you feel is more over your buttocks, then into your lower back. Practice this a few times until you begin to feel that you can activate your belly without moving your spine. Likewise the ribs should neither feel flared out, nor pushed down. This ability to keep your pelvis and spine stable will carry you forward as we progress the exercises.
Perform the same exercise in standing position and see if you can keep the lift throughout your spine without leaning back. Deep belly remains engaged to help lengthen upwards.
Two: Stable spine and pelvis as the legs and arms work independently.
(Article includes photo demonstrations) ...
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Volume 6, Issue 5
Hard Shoes: Words are important
Mary Ann McGrath Swaim, TCRG
The English verb "teach" is said to date back in usage time to well before the 12th century. Merriam Webster offers this as a first definition" "to cause to know something." In the Irish, it's older, and it's closer to "teagasc", but the meaning holds true.
Irish dance teachers teach Irish Dance, or, otherwise said, Irish Dance teachers "cause to know" something called Irish Dance. And, at least in the last few generations since the earlier part of the twentieth century, An Coimisiún le Rinci Gaelacha has ordained that certified Dance teachers are duly trained and thus qualified to do so.
So, how does the cause cause? What is the method, the process, the procedure, the specific "how to" of the action word "teach" for Irish Dance teachers? Then too, from the vista of the action in the verb, can we glean something of the philosophy — the love of the knowledge of the causing to know — standing behind and giving meaning to the act?
Hardshoes will venture to write it down that, at another time and place, there was once — at least for a fairly representative sample of teachers of Irish Dance — a process that paralleled the sculpting of clay. In the latter, the artist breaks down the medium and softens it to formlessness first. Only then, gradually, with the hands heavy on the raw ruin of former form, does a new shape emerge. The philosophy that shines through fits the phrase: "break down to build up again." Hardshoes has seen too many Irish born men and women "of an age" in too many non-Irish Dance encounters asked to "give us a step" then paralyzed in retro-glance not to at least consider the side effect for many: shame — shame for not having measured up, shame for succumbing, shame for hearing their young selves called "lazy" or "stupid" or any word that worked well in the breakdown process.
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Volume 6, Issue 5
Feisin' obsession
Comhaltas Irish Dance Festival 2004
by Amber Murray
The O'Neill-Malcolm Branch of the Comhaltas Ceoltoiri Eireann has this one down pat. they should, after 28 years of sponsoring this feis. Known before as the Glen Echo Feis, the organizers moved the venue to Mount St. Mary's College in Emmitsburg, Maryland three years ago. I've got little complaint with the move!
A feis committee composed of representatives from eight dance schools – the Culkin School of Traditional Irish Dance, the Maple School of Irish Dancing, the Boyle School of Irish Dance, Aoibhneas an Rince, the Donnelly School of Irish Dancing, the Prendergast School of Irish Dancing, the McGrath Academy of Irish Dance, and the Teelin School of Irish Dance – as well as representatives from the CCE, work together to see that this event runs smoothly. We have to say that it did.
Mount St. Mary's, located in the quiet hills of Maryland, offers a large gymnasium on which six stages, including the champ stage, are set. All plywood stages are on offer, and with 747 dancers registered, they run pretty much continuously through the day. It's not a terribly long day, however, with the bulk of the competitions being done by 5 pm. The organizers have set up a nice practice area, spacious and out of the way, and a decent changing area for girls – a necessity, as the bathroom facilities are neither huge nor numerous! Vendors, however, ARE copious, so this s a great place if you need shoes — or a wig, or socks, or CD's, or gifts, or ... you get the picture.
...
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Volume 6, Issue 5
Dancer to dancer: Season of Madness — Regionals
by Erin Reilly
'Tis the season — the season of madness — as my friends and I call it. It is the season of the qualifiers, Regional Oireachtas competitions throughout the Irish Dancing world. "It can make or break you," or so is widely thought within the hardcore dancing community! For all the enriching goodness that Irish Dancing brings us, a single season of ill-handled madness can cost you big time if you do not keep your wits about you. I am not talking about world ranking — I refer to your friendships. Stop hyperventilating and remember what really matters — why we do this dancing.
Dance to achieve your personal best - not to defeat "The Opponents"
While on stage at a major competition, I can become overwhelmed feeling the pressure. Before the competition starts, I feel faint.
Though I catch myself, After eight years, I know how to calm myself and stay focused on what I actually want to achieve. The way to calm the adrenalin is to focus solely on dancing and nothing else.
I find a quiet spot away from everyone and indulge in the alone time. I meditate and envision myself performing the way that I have perfected throughout the year. I listen to the music and align myself with the rhythm, the room and eliminate other distractions before joining the dance line. It is just me and the music in my world now.
...
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Volume 6, Issue 5
News: CRN Training Programs
CRN (Cumann Rince Naisiunta–Irish National Dance Association) is a qualifying body for Irish Dancing Teachers and Adjudicators. The group has a detailed and specific curriculum that leads to the ODCRN (Oide Damhsa Cumann Rince Naisiunta–Irish Dance Teacher CRN). Teacher Training Sessions are held in the US twice per year (January & August) and travel around the country. Teachers enroll in the sessions a minimum of twice before sitting the exam which is given in Dublin in late June, yearly. Each workshop includes in depth coverage of the test curriculum in Solo and Ceili (group figure dance), but also has a Feili (comptetion) attatched to it for CRN Students.
CRN Ireland (the parent group of CRN-USA) has detailed information about its history, philosophy and offerings at www.crn.ie. The ODCRN program is registered as a certification program with Trinity College in Dublin, Ireland, and is recognized as one of the most thorough training programs for Traditional Irish Step Dancing.
Mary Hayes Ernst
Representative CRN-USA
Owner / Director Celtic de Santa Fe Irish Dance School
505/984-1139
www.celticdesantafe.com
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Volume 6, Issue 5
News: Florida's newest TCRG
Nicola McEleney-O'Hara, TCRG, a native of Clonmany, CO. Donegal, Ireland, began dancing at the age of three in Ireland, under the tutelage of renowned teacher of music and dance, Dinny McLaughlin, and then his pupil Janet Coyle, ADCRG, under An Comhdhail. Nicola performed and successfully competed throughout Ireland, England and the United States. She has performed for the President of Ireland, appeared on National Television in both Ireland and England, performed onstage with many outstanding musicians including Natalie MacMaster, James Kelly, Daithi Sproule (Altan), Cehaps & Wiggins, The Volunteers and many more.
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Volume 6, Issue 5
An Coimisiún le Rincí Gaelacha Code of Conduct
HORNPIPE tries to ensure that its readers have comprehensive information about the intricacies of all sorts of Irish and Irish-American cultural activities.
Chief among our interests in Irish dance and its competitive events that draw thousands of dancers in several nations annually. In recent years the competition has become so large internationally that competitors, and their families, need to know all they can about the code of conduct for teachers and adjudicators as well as the parameters of An Coimisiún's oversight of these matters.
We hope that by publishing this code, dancers and their families will have a clearer idea of and appreciation for what it takes to be a teacher and/or adjudicator adhering to the traditions that have evolved from the history of Irish dance.
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Volume 6, Issue 4
Dance at Nation's Capital Feis and Visit Washington D.C.
by Andrew Murray
The District of Columbia was taken over by the Irish (even if just the Irish at heart) for the Nation's Capital Feis on the weekend of July 24. The O'Neill-James School of Irish Dancing, lead by Hall of Fame Member Laureen O'Neill-James, ADCRG, spearheads this annual event, now in its seventeenth year.
If you're looking for a BIG feis, with a large variety of competitions, lots of chances for teams to compete, and a chance for a huge number of competitors.
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Volume 6, Issue 4
A survival guide: a dancer's first year in college
by Erin Reilly
There was always time to dance amid the chaos and confusion of day-to-day life throughout my grammar and high school years. The hour or two that I set at the end of the day to practice was like a breath of fresh air. But what happens when you get that diploma in your hands, along with an acceptance to a university that is 300 miles from home?
How do you continue dancing and competing when for nine months of the year you no longer have the familiar regimen of formal practices?
Many dancers who are coming up to their senior year in high school may be starting to ask themselves - is there really a way that I can continue as a competitive dancer while away at school? Yes!
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Volume 6, Issue 4
Dance Health and Fitness: Maximizing your core strength
Karen Sanzo, PT, Pilates Teacher
This lesson will help you learn the difference between stretching your legs and stretching your back. Because both the trunk muscles from above and the hip muscles from below attach to the pelvis, the position of the pelvis is the most important part of these exercises.
Stable Spine / Stretching Hips
Facing the bar, or some other stable surface, put your right leg out straight. Pull up the muscles on your standing leg to keep it stable. You will notice that the body is upright and there isn't any curl in the pelvis or rounding of the spine. If you put your leg out in front and the pelvis curls under or the body leans too far back in order to counter balance, then you must lower the leg a bit. You can do this by putting your foot on a chair or stool or a low step. Keeping a level pelvis is the most important part of this exercise. It may be frustrating at first, but in the long run, this will help to truly stretch the posterior structures of the right leg.
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Volume 6, Issue 4
Teacher-Parent-Dancer Relationships
Donagh Corcoran, ADCRG, Cork, Ireland
There is a clear interdependent and yet independent relationship between the teacher, dancer and parent in Irish Dancing. They are interdependent because the same dancer works with the teacher and is supported and resourced by the parent. They are independent because they interact with the dancer at different times and in separate ways. They are however co-joined because they both have a similar objective which is to enable the dancer to enjoy the experience of Irish Dancing and make it part of his or her personal development for life.
These two sets of relationships are (a) the teacher / dancer and (b) a separate one of the parent / dancer. It is correct in my view that there should be two relationships as they are different and have particular roles. The teacher has a direct connection with the dancer as a pupil. The parent on the other hand has the connection through which support and encouragement is given to the dancer. While these two relationships may overlap there is a clear value in keeping them separate. The only way to really appreciate these differences is to reflect a little on the different roles of the teacher, parent and dancer.
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Volume 6, Issue 4
Colin Dunne, dance master
First US teaching tour
Dallas, Texas, August 2004
A dark, slender figure sat on the barstool at the Tipperary Inn fielding questions from youngsters. The children came from all over the Metroplex area with some parents driving three hours to attend this rare workshop by one of the most celebrated Irish dancers of modern times.
Colin Dunne - unshaven, dressed in a t-shirt and baseball hat - would hardly be noticed drinking a pint at the bar. His quiet, unassuming nature suits a librarian and his slight, sinewy stature is that of a roughneck.
The mere mention of Colin's name to anyone associated with Irish culture and familiar with the dance world would know a celebrity is in the room. Colin Dunne is a nine-time World Champion Irish dancer winning his first World competition at the tender age of nine years. He has won eleven Great Britain, nine All-Ireland and eight All-England titles that continued until the age of twenty-two.
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Volume 6, Issue 4
Long years, short journey
by Thomas Miner
Piercing together Irish dance history is a delicate procedure. The process constantly evolves with each new interview and researched document. More times than not, there is either conflicting evidence or none at all to confirm what actually took place. Yet there are rare moments when opportunity presents itself and we glimpse into the past. Such a moment was recently granted when HORNPIPE interviewed Rita O'Shea-Chaplin.
Fifty years - a long time to teach Irish dance
Remember the 1950's scene? The world was healing from the destruction of World War II and Republican President 'Ike' Eisenhower secured two terms in office. Senator Joseph McCarthy stacked his dramatic cases against communist insurgents in America, as the nuclear disarmament and dismal cold war between communists and capitalists mounted. The polio epidemic, followed by a vaccine for its immunity, ended the disease for thousands. Television captured audiences with This Is Your Life, Liberace, and I Love Lucy, Singin' in the Rain projected a hopeful future, while rock and roll swung into age. Transistor radios and commercial airlines were just on the horizon.
1954 is when seventeen-year-old Rita O'Shea began her teaching career in Galway, Ireland, with the support and encouragement of her mother. Rita's first teacher, Lily Simpson Daly gave her the opportunity to take over the very school where she learned to dance. Today, Ms. Daly is a sitting member of An Coimisiún.
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Volume 6, Issue 3
Maturity, Service Mark this great dancer
While at the Nationals in Philadelphia, HORNPIPE Editor Thomas Miner met and chatted with many dancers. He was particularly impressed with Noreen Hughes, a student of Peter Smith, whose dancing since age seven has not always won the prize but she has never wavered in her devotion to the art. Thomas asked her a pointed question and her answer printed here is a testimony to the success, both on the floor and off, of her teacher, Peter Smith, the new president of An Coimisiún, who can be especially proud of this young woman's dancing and the sterling character he has helped to shape.
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Volume 6, Issue 3
2004 North American Irish Dance Championships
List of results.
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Volume 6, Issue 3
Dancer to Dancer
by Colleen Miner
Through out dance history Irish dancing has been a family sport. What started out as a small, simple feis has turned into a whirlwind of check ins, buying shoes, wigs, dresses, socks, and make-up. A small feis is now nothing close to simple. These days a feis can cost hundreds of dollars for the hotel and traveling expenses alone not including the shoes and socks you might need, or a wig or a dress to fully compete in your competition. The money needed to take part in a feis can add up to be a lot more than you think.
This past fourth of July weekend in Philadelphia we watched the nationals, where I saw families cheer on their dancers, console them, feed them, and just be there while their dancer pours his or her heart out on the stage. I could not help but notice how much money was being spent that weekend.
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Volume 6, Issue 3
Dance Health and Fitness: Option Pilates: More than an exercise
Pilates is passion - passion to learn about movement and thing about movement from a new perspective. This new perspective, in part, deals with the idea that when something is moving, something else must stay stable. Simple, maybe, but not easy. It takes mental focus to make this happen, and just like other activities that take practice, so does Pilates.
Pilates has earned a reputation as a training program for optimal performance. Basketball players use it to jump higher. Gymnasts have used it to increase their core strength, flexibility and balance, while swimmers have used it to maximize their stroke length. Dancers, whose bodies require ALL of the above components, will benefit from a Pilates program, too.
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Volume 6, Issue 3
Hardshoes: Summer Tidbits: Of Sets, and Treblings
Sets
The first question posed concerns solo sets: What are they, and how did they get that way? Any one article on point could do no justice to the full breadth of the topic. On the other hand, Dr. Cullinane and others have already written on sets, so what's left to talk about, right? But, maybe it's worth our while to focus a minute on one, particularly interesting aspect of the subject - even if only for no other reason than to nudge some productive argument out of it, and hopefully trigger a way to some consensus.
Sets are not sets because of the dancer, but because of the musician. Better said, sets are musical pieces, to which dancers set movements. What makes these music pieces, to which dancers set movements. What makes these music pieces unique is not so much what they have in common with each other, as what they don't have in common with the rest of the vast storehouse of Irish music. Sets are not bound to 8-bar measures; rather, the number of bars to each part of each tune is unique.
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Volume 6, Issue 3
Peter Smith elected President of An Coimisiún
In his life, Peter J. Smith has been a "Mount Rushmore-like figure" in the world of Irish Dancing, serving as an early colonialist for An Coimisiún in North America, helping to perpetuate it and influence it, from the early beginnings of the "IDTNA-7" to the thriving organization of 600 that it is today. In fact, Peter has risen through the ranks of An Coimisiún to the most prestigious position in the world. Peter has been elected President of An Ciomisiún, but now the first North American President.
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Volume 6, Issue 3
Figure Dancing - for Fun and for Feis
Figure dancing in the first instance is always a social experience. This is an important point for teachers to consider when teaching figure dancing. Without the development of team spirit you can never by properly prepared for competition. There are some dancers who will not move beyond the social dimension. They simply enjoy the social interaction and do not like team competition. The development of the social and competitive aspects of figure dancing is therefore two separate states of preparation for dancers.
It is natural for children, teenagers, and indeed adults to become part of a group or groups throughout their lives. Many of these are social experiences and have nothing to do with competition. Groups very often do things together. They plan, organize, learn and in some cases perform. This can be in the world of music, drama, dance, and photography or in such activities as flower arranging or art. There are many more activities that could be added to the list. These groups have a number of things in common:
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Volume 6, Issue 2
Colin Dunne to present workshops in Texas, Louisiana and Mississippi
"Riverdance - the Show" performer, Colin Dunne is planning workshops across the country and has confirmed destinations in Dallas, New Orleans and Mississippi.
"Its kind of a personal rule of mine that the classes are open to all dancers from whichever organization or class and I don't do workshops exclusively for one group. The classes I teach tend to be technical ... and boil down to the relationship of dance to music. But I try and teach in such a way that the end result is not just "a step" but that the students come away with more knowledge about the dance and themselves as dancers, so that they can go work and play with the dance on their own." said Colin Dunne.
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Volume 6, Issue 2
Feisin' Obsession First Annual West Virginia State Feis
April 3, 2004 brought a new experience to the Mountaineer State. The Irish Culture Center of Pittsburg hosted the first feis held in West Virginia, bringing approximately 1100 dancers to the Mountaineer Race Track and Gaming Complex in Chester, West Virginia.
The Complex has on its grounds the Harve Theatre, normally used for concerts and the like. On this Saturday it held 9 stages. Champs got the main stage (and Ryan Dunn for music), and the others were spaced around the large interior. There seemed to be a fair amount of room - we never felt crowded or jostled - and while the lack of a changing room did make its presence known, the venue boasted very large, clean restroom facilities, so changing didn't seem to be that much of a hassle.
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Volume 6, Issue 2
Dance Health and fitness: Knee Workout
Sumo Squats
3 sets / 10 repetitions
The sumo squat works out the vastus medialis (the part of the quadriceps on the inner side of the knee that holds the kneecap in place) and the hamstrings, and stabilizes the entire knee joint. Place your feet twice-shoulder-width apart, with your toes angled out, and keep your torso straight during the entire motion.
Leg Press
3 sets / 10 repetitions
To focus more attention on the vastus medialis, your feet should be at least 50 percent wider apart than they are for a regular leg press. Angle them outward about 45 degrees. But don't place them too low on the foot plate; it can pout unnecessary stress on the knees.
Hard Shoes: Why do Irish Dancers have to dance two or even three at a time before only one adjudicator at a feis?
by Mary Ann McGrath Swaim, TCRG
Room for comparison?
One of our readers recently posed a question to Hardshoes for discussion. Maybe you other readers could join in and offer your thoughts in response with me. Here's the question posed:
Why do Irish Dancers have to dance two or even three at a time before only one adjudicator at a feis, while other dance competitions (non-Irish, like ballet or jazz) provide for two, three, or even more judges to sit in panel review of each dancer separately and all alone? Mind you, I'm satisfied the question is not critical, but only questioning for information and feedback. So let's see if we can give it a try ...
First, of course, we're talking only of non-champion dancers, as we all know that championship competitions, both Open and Prelim, are before panels of three adjudicators and that champions dance at least one dance (their sets, if danced) one at a time rather than in pairs or threes.
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Volume 6, Issue 2
Dancer to Dancer: Taking a break from Irish dance choices, decisions, and life
by Colleen Miner
For the past seven years Irish dance has been a major and main part of my life. This past year I have begun to seriously think about my future and what it will hold for me. I know that Irish dancing was what I really loved to do when I was younger. I loved the dance and am proud of my accomplishments. During the last year I have developed different interests. For the first time, I have been involved with some other sports such as basketball, soccer, and track. Things got a little hectic running from one activity to the next. However I enjoyed experiencing the other sports, along with Irish Dancing.
As the next school year approaches I am faced with the challenges of high school. I know that my education is going to be more demanding of my time. Taking all of this into consideration, I have decided to take a break from Irish Dancing.
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Volume 6, Issue 2
The busines |
