In Ireland, there is a belief that the hills are the gateway to another world. A world inhabited by fairies (faeries). It is not uncommon for people and hill dwellers to meet. And always such meetings promise something unusual. Often, following the charm of the fairies, people follow them to a magical land, and return after many, many years, being already very old people. Those who did not succumb to temptations, or earned the gratitude of the fairies, acquired all sorts of interesting abilities and, of course, a reliable assistant. But none of those who saw the fairies remained the same.
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With regard to dance, we can say that no one who has seen Irish dance remains the same. And the Irish dance itself is often called the “dance of the wondrous people”. Light, unearthly jumps, gliding steps, swift throws and leg overruns, combined with a calm body, make a mesmerizing impression. Not the usual combination of pride and mischief, dignity and temperament!
The history of the Irish national dance reflects the events that took place in Ireland itself, starting from the 20th century BC, and ending with the 20th century of ours - the migration of peoples and the invasion of conquerors, the change of religions ... Each culture that the Irish came into contact with contributed to their dance tradition. Although today there is only a vague idea of the most ancient stage in the development of Irish dances, it is known that the Druids were the first to perform them. Initially, the dance had a ritual meaning: they were performed, praising the sacred trees and the sun. Coming from the mainland to Ireland, the Celts brought with them religious dances, some elements of which have survived to this day.
The oldest type of Irish dance, which has survived to this day, is called Sean-Nos. It traces its origins to the Celts who lived in the British Isles from 2000 BC. and up to 200 AD. Ancient chronicles testify that this dance is of Irish origin, although sailors from distant lands, North Africa and Spain, who visited local ports, for example, in Limerick, brought their own national features to it. Sean-Nos competitions are still held today. This dance is most popular in Western Ireland.
In about 400 years, after the conversion of local residents to Christianity, Catholic priests continued to widely use elements of national culture in their worship. Holy Scripture was decorated with Celtic archaic ornaments; Celtic rituals and dances accompanied Christian holidays. In the 12th century, on the wave of the Anglo-Norman conquest, Norman traditions, customs and culture came to Ireland, including the most popular dance of the time, Carol. The leader of the party in Carol stands in the center of the circle and sings a song that is picked up by the dancers surrounding him in a round dance. Carol's style greatly influenced the development of Irish dance.
By the 16th century, three main types of Irish dances were already mentioned in the chronicles: Irish Hey, Rinnce Fada and Trenchmore. One of the oldest descriptions of the national dance is contained in a letter from Sir Henry Sidney to Queen Elizabeth I, who was "very impressed with Irish melodies, as well as dances." Sydney described his observations of people dancing in the clearing, noting that the participants were dancing in two lines. This suggests that an English knight saw an early version of the Rinnce Fada dance.
By the middle of the 16th century, folk dances migrated to the ceremonial halls of palaces and castles. Some of them, adapted in the English manner, gained popularity at Her Majesty's court. Among them was the Trenchmore, a variant of an old peasant dance. Around the same time, Irish Hey gained popularity.
Due to the oppression and persecution of Irish culture, which began in the 18th century, national dances were performed for a long time only under the cloak of strict secrecy. A proverb of that time says: "The dancer dances until he returns to the village." Moreover, folk dances were strongly condemned by the Christian church. The priests called them "mad" and "bringing misfortune." Some historians believe that the characteristic motionless position of the hands on the belt appeared in Irish dance after the church declared the movements of the hands obscene.
In the 18th century, “dance teachers” appeared in Ireland, with whom the era of the revival of dance traditions is associated. It is not known where this movement first originated, but it played a decisive role in the preservation and development of ancient customs. Teachers wandered around the villages, teaching dances to local peasants. The dance teachers were dressed in bright national costumes. Often they arranged competitions with each other, which usually ended only when one of them collapsed in exhaustion. Many dance teachers also taught musical instruments, swordsmanship, or good manners.
Varieties of Irish dance:
Solo Dances
Solo dances were developed by dance masters in the last quarter of the eighteenth century and have continued to develop both physically and artistically since then. Today they express the greatest freedom of expression, excellent mood, a true combination of splendor, lightness and power of movement, achieved by years of hard work. Irish solo dances in their modern form include jig, hornpipe, reel and set dances.
Jig (The Jig)
As a solo dance, the jig can be performed in various forms: Slip (The Slip Jig) or hop (The Hop Jig) jig is currently danced exclusively by women, but until about 1950, competitions were held for both men and pairs. The slip jig, danced on 9/8, is the most elegant and graceful dance performed in soft shoes and highlighted in the ”Riverdance” show. The Single Jig is currently performed as a light dance (no beats or sound) on 6/8 and on rare occasions on 12/8. Double jig (The Double Jig) can be danced as a light dance (in soft shoes), and in hard shoes with rhythm tapping. If it is danced with stiff shoes, then sometimes it refers to The Treble Jig, or The Heavy Jig, or The Double Jig, which are danced on 6/8. The Heavy Jig is the only one that is danced exclusively in hard shoes, so that the dancer can especially emphasize the dance with sound and rhythm.
Hornpipe (The Hornpipe)
In Ireland it is danced quite differently and has been performed in 2/4 or 4/4 music since the mid-eighteenth century. It is danced in hard shoes and is one of the most popular Irish dances in the world today.
Reel (The Reel)
Most of the reel steps are performed under the double reel, while single reel melodies are used more for simple steps used by beginning dancers. They are performed to 4/4 music and danced in soft shoes. The treble reel is danced in hard shoes. While it has become quite popular around the world with audiences who have seen "Riverdance" and other Irish dance shows, it is rarely (if ever) performed in competition. This dance, with its fast rhythmic beats and spectacular movements, enthralled millions of viewers around the world when it was first performed as the number "Riverdance" during the Eurovision Song Contest. It can be said that in a few minutes this performance turned everything in Irish dancing upside down and provided them with more public recognition and respect than in the previous seventy years. The treble reel style gained popularity through the efforts of The National Folk Theater (Siamas Tire) under the artistic direction of Rev. Pat Ahern and teacher Patrica Hanafin of Tralee.
Solo Set Dances
Set solo dances are performed in hard shoes to special set music or excerpts of dance melodies, and many date from the mid-nineteenth century. Set music differs from the usual jig or hornpipe in that the latter strictly correspond to the 8-bar structure. Set melodies usually consist of two parts, which are divided by dancers into “the step” (the first part) and “the set” (the second part), while both the step and the set may not correspond to the 8-bar structure. In a set dance, the performer dances to a strictly defined music, so that the movements and rhythm of the dance exactly match the accompanying melody. Below are some of the solo set dances: On 2/4 - The Blackbird, Downfall of Paris, King of The Fairies, The Lodge Road, Rodneys Glory. On 6/8 - The Blackthorn Stick, The Drunken Gauger, The Three Sea Captains, The Orange Rogue, Planxty Drury, Rub The Bag, St Patrick's Day. On 4/4 - The Garden of Daises, The Hunt, Kilkenny Races, Madame Bonaparte, The Job of Journeywork, Youghal Harbour.
Keilis (Ceilis - Irish Group Dances)
Keili dances are group dances that are performed both in competitions and at ceilis (a type of community dance, dance party). Keili are a collection of dances with different formations - round dances, long line dances and long column dances. Thirty of them are described in the first, second and third parts of the Irish Dance Commission's An Rince Foirne, and knowledge of these thirty dances is a prerequisite for becoming an Irish dance teacher. They are danced in the same way throughout the worldwide "Irish" dance community, with minor local variations. The dances performed during ceilis and competitions may vary slightly, a good example being the square in the Fairy Reel. The most common dances in competitions are 4-hand and 8-hand jigs and reels.
Social Group Set Dances
These dances, known as sets or half-sets, are derived in their variety from square dances, dances in which couples stand opposite each other to form a square. The quadrille was very popular in Napoleonic Paris. The victorious armies of Wellington became acquainted with them and then introduced them into use in England and Ireland. Dance masters adapted these dances to the already existing traditional steps and accelerated the pace to the usual reels and jig. Differences existed in the number of figures, the number of which ranged from three to six, while initially there were five. In the original quadrilles, the presence of five figures was determined by the music on 6/8 and 2/4.
Group dances were practically eradicated in the first seventy years of the twentieth century, as they were considered foreign by the Gaelic League. In recent years, set dances such as the Kerry and Clare sets have made a comeback in the Irish dance arena and have become quite popular among the middle aged.
Because these dances are not typically Irish, a similar dance style and detailed steps can be found in many European countries, especially Russia. Today, group set dances are often danced at a very high speed and in a wild manner bearing no resemblance to the original sets, which are characterized by strict discipline and good manners determined by their character (sets).
Today, Irish dancing has conquered the whole world. Dance schools attract many students not only in Ireland itself, but also in many other countries. Irish dancing has become popular everywhere. Four major competitions are regularly held - the American National Championship, the All-Ireland Championship, the British Championship and the World Championship. By tradition, the World Championship is held in Ireland, and thousands of dancers come to it, for whom a worthy result at the championship can be the beginning of a stellar career. For example, in 1998 the World Cup, held in Ennis (Ennis), brought together three thousand participants and another seven thousand coaches, teachers and fans.
INTRODUCTION
The dance originated with the first people and relentlessly followed humanity, helping to overcome fears, express their thoughts and share these thoughts with others.
The first dances were primarily ritual and, in modern terms, therapeutic in nature. And since, depending on the living conditions of a particular people, the nature of the dangers and the lifestyle changed, the dances of different groups differed significantly from each other.
With the development of national characteristics of a particular people, with the formation of character and temperament, folk dances were also formed. It is thanks to the differences between representatives of different ethnic groups, the characteristics of a particular nation, that we can enjoy such different folk dances.
Folk dance is the history of the people, its originality, the personification of its soul.
The dances of the peoples of the world are a kind of journey not only around the planet, but also in time. But at the same time, it is an endless source of inspiration for choreographers and choreographers, and for the dancers themselves. After all, in every national dance we can find elements that allow us to enrich the dance composition.
Folk dances formed the basis of ballroom dancing, the basis of modern dances and even the basis of some martial arts.
The national dance of each country is beautiful in its own way, but some folk dances have taken a special place. This applies to Latin American dances whose incendiary rhythms are present in almost all modern club dances or Irish dances that gather huge halls, and the famous Michael Flatley is one of the highest paid dancers in the world. So what is the phenomenal popularity of Lord Of The Dance, Rhythm of the Dance, Riverdance? You can answer this question by going back several centuries and finding yourself in ancient Ireland.
MAIN PART
History of Irish dancing
The first mention of Irish dancing dates back to the 11th century. We are talking about traditional dance festivities, which are called feis (fesh). But only in the 16th century does a detailed description of the Irish dance appear.
All ancient Irish dances were characterized by a fast pace and side steps. Irish dances were heavily influenced by French and Scottish dances. And perhaps the dance culture of Ireland repeated the sad fate of many national dances, and over time they would become just a ghost of a bygone time. But the English metropolis helped to preserve the original Irish dance.
The colonialists fought so stubbornly with the manifestation of everything “folk” and in the middle of the 17th century England introduced “Punitive Laws” that forbade teaching the Irish anything, including dancing. In addition, the Catholic Church recognized Irish dances as demonic and imposed a strict ban on them. In fact, Irish dances are one of the few that have been officially banned. At one time, the waltz, Cuban mamba, Argentine tango were condemned, but officially these dances were not banned. Although the bans added to their popularity. What can we say about Irish dances, which immediately gained a special appeal. Over one hundred and fifty years! Irish dances were a coveted forbidden fruit, taught in secret and passed on by itinerant masters. Agree that it is quite logical that in such an atmosphere the popularity of dancing grew every day. Indeed, often what is forbidden becomes especially attractive.
At the end of the 18th century, the first schools of dance began to appear. Masters who taught Irish dances brought their own elements to the dance (jumps, jumps, turns) and each school had its own style.
At the end of the 19th century, a process called the Gaelic Revival began. Its essence boiled down to the revival of traditional Irish culture and dancing was one of the most important areas of this process. To revive the Irish dance culture, the Gaelic League established the Commission on Irish Dances at the beginning of the 20th century, which was engaged in the formalization and description of Irish dances. As a result, dances that had strong foreign roots, such as set dances, were ignored. The League adopted the southern (“Munster”) dance school as the basis.
Types and varieties of Irish dances
As mentioned above, the Irish Dance Commission strictly ensures that the dance is as close as possible to its historical roots. Accordingly, all types of Irish dances are performed to traditional Irish dance melodies. These are reels, jigs and hornpipes.
Irish solo dances (Irish Stepdance)
A distinctive feature of Irish solo dances are fast and clear foot movements while remaining motionless body and arms. The motionless hands are due, according to one version, to the persecution of the church, which claimed that the movement of the dancers' hands is part of a satanic rite. There is a more prosaic version, according to which the dancers used to have too little space for performances (an impromptu stage was created from an ordinary door). Irish solo dances were developed by Irish dance masters in the 18th and 19th centuries and are rigidly standardized by the Irish Dance Commission. It is on this technique that the spectacle of the Riverdance show is based.
Irish caylees (céili)
These are both couple and group dances based on standard Irish solo dance steps. Keili are a selection of dances with different constructions.
Circle: Dancers join hands in pairs, forming a circle.
Line: the dancers line up in two lines, the girls opposite the young people. Different restrictions are imposed on the number of pairs in different dances: any even number, no more than 5 pairs, etc.
Set: Two to eight pairs at the same distance from each other form a triangle, square or polygon.
Street, or column: for a set of two couples back to back, the next set is built, the next one for them, and so on, depending on the number of people who want to dance and the free space. The street can also be built from threes of dancers (two partners with one partner) and fours (two couples side by side).
The dance is characterized by complex rearrangements within its set. In line and street dances, after the end of the story, the partners find themselves in other places and start the dance again with other counter-partners. Dances in a set usually have a complex dance structure with an introduction, an end, a "body" - the body of the dance that is repeated several times, and figures that are danced between the body and do not repeat.
Set Dancing is a paired Irish social dance. Unlike keili, they are based on the relatively simple steps of French quadrilles.
Shan-nose (sean-nós) - a special style of performance of traditional Irish songs and dances, not affected by the activities of dance masters and the Gaelic League, preserved in the Connemara region.
Choreographed Figure Dances
These dances are based on standard Irish solo dances and caylees. But this is, above all, a spectacular form of dancing. There are many dancers here. Since this is, first of all, a show, when staging numbers, various deviations from the standards are allowed to increase entertainment. Most of the famous Irish dance shows are staged figure dances.
Each type of dance is performed to a traditional melody, which has its own time signature. The main types are jig, reel, chronpipe.
A jig is an old melody of Celtic origin. Depending on the musical size of the melody in which the dance is performed, light (double) jig, slip jig, single jig and treble jig are distinguished. The usual time signature for these types of jigs is 6/8.
The slip-jig, performed in a special size 9/8 and exclusively in soft shoes, stands apart from the rest. It is the slip jig that is taken as the basis for the Riverdance show.
The jig single is currently performed as a light dance (no beats or sound) on 6/8 and on rare occasions on 12/8.
The Double Jig can be danced as a light dance (in soft shoes) or in hard shoes with rhythm tapping. If it is danced in hard shoes, then sometimes it refers to The Treble Jig, or The Heavy Jig, or The Double Jig, which are danced on 6/8.
The Heavy Jig is the only one that is danced exclusively in hard shoes, so that the dancer can especially emphasize the dance with sound and rhythm.
Reel arose in the second half of the 18th century in Scotland. The usual time signature of a reel is 4/4. Reel is danced in soft shoes (easy-reel) and in hard shoes (treble-reel). Men's "soft" reel is performed in special boots with a heel, but without heels on the toe. Often part of the show, but rarely performed in traditional competitions.
The hornpipe originated in Elizabethan England, where it was performed as a stage performance. In Ireland it is danced quite differently and has been danced to 2/4 or 4/4 music with stiff shoes since the mid-eighteenth century.
Clothes and shoes for Irish dances
Irish dance shoes are divided into two types:
soft (English soft shoes)
hard (English hard shoes).
Soft shoes (ghillies or pumps) are light leather slippers without heels and heels, with long laces. Slippers are usually the same for both feet. Usually black leather is used for these shoes, but you can also find a colored pair for show performances.
Men's soft shoes - leather shoes with soft soles and a small heel, allowing dancers to make clicks even when dancing in soft shoes. Rigid shoes are more specific: shoes are usually black, with a small heel and a heel on the nose, which makes the nose rise and become slightly convex. For better fastening on the leg, in addition to the laces, they have a leather strap. For the production of heels and heels, various plastics are used.
Women's costume for Irish tap dance is often represented by a short dress with a rather wide skirt, since in this type of dance the main attention is paid to the movements of the legs, which in some dance steps must have time to make a fairly wide and fast movement. The dress is bright, often multi-colored, decorated with Celtic patterns. The women's suit is also complemented by white stockings, just below the knee length.
The men's costume for Irish step is not wide pants and a shirt, often with wide sleeves.
Irish Dancing: Climbing
Irish dancing would have remained popular only on a national scale. But 1994 changed everything. It was in April this year at the Eurovision music show, which was held in Ireland, the world saw the dance show Riverdance, in which Irish dance champions Gene Butler and Michael Flatley participated. The show shocked the audience so much that several more projects soon appeared. Shows that stand out among them are:
Lord of the Dance
Lord of the Dance ("Lord of the Dance", also "Lord of the Dance", "King of the Dance") is an Irish dance show choreographed by Michael Flatley in 1996. The soundtrack was composed by Ronan Hardiman.
The plot show, based on Celtic folk music and Irish folk dances, has gained wide popularity. The troupe has repeatedly toured Europe and the United States.
Feet of Flames
Feet of Flames is an Irish dance show choreographed by Michael Flatley. Music by Ronan Hardiman. The Feet Of Flames show is a reworked, more modern version of Lord of the Dance. Although the plot of the show remained the same, the choreography of the dances changed, the musical compositions were re-arranged, the costumes and the composition of the participants changed.
Celtic Tiger
Celtic Tiger is an Irish dance show directed by Michael Flatley, who also co-stars. Celtic Tiger combines Irish dancing with ballet, flamenco, hip-hop and salsa. The music for the show was composed by Ronan Hardiman.
Dancing on Dangerous Groun d
Dancing on Dangerous Ground is an Irish dance show created by Gene Butler and Colin Dunn. It premiered in London at the Royal Drury Lane Theater in 1999. The show had its American premiere in New York at the Radio City Music Hall in 2000.
riverdance
The dance show Riverdance was first presented at the Eurovision Song Contest 1994. This performance featured Irish dance champions Jean Butler and Michael Flatley and the Celtic choir Anúna; the music was composed by composer Bill Whelan. Flatley himself was the choreographer of his part, Jean Butler choreographed dances for herself and for the rest of the troupe. Riverdance the Show. Riverdance was produced and directed by a married couple, John McColgan and Moya Doherty. Riverdance still performs around the world today, albeit in a reduced format and in smaller venues.
Irish dance stars
Jean Butler is a professional Irish dancer. She was born on March 14 in Mineola, New York. She graduated from the University of Birmingham with a degree in Theater and Drama. She received the Irish Post Award for "Outstanding Achievement in Irish Dancing" in April 1999. Her mother began teaching Jean Irish dancing when she was 4 years old. The famous teacher Donny Golden was invited. Jean also studied classical ballet and American tap dance, but her main focus was on Irish tap dance. Thanks to her talent, Jin has won regional and national tournaments and placed well in world competitions. Jean has performed with Green Fields of America and Cherish the Ladies; when she was 17, she made her Carnegie Hall debut at a The Chieftains concert. In 1994, at the invitation of producer Moya Doherty, Jean took part in a seven-minute break at the Eurovision Song Contest in a number called Riverdance.
Michael Flatley
Michael Ryan Flatley is an Irish-American dancer, choreographer, musician, and producer known for directing the dance shows Lord of the Dance and Feet of Flames. Twice became the Guinness Book record holder as the fastest tap dancer in the world (28 beats per second in 1989, 35 beats per second in 1998). Michael was born July 16, 1958 in Detroit and grew up in Chicago, USA. He began dancing at the age of eleven, at the age of seventeen he won the Irish National Dance Competition. In parallel, for some time he was successfully engaged in boxing. In 1975 he won the Chicago Golden Gloves championship. He also played the Irish transverse flute. Recorded a solo album. Since 1980 he has been a member of an Irish folk group where he played the flute. In 1978-79 he toured as a dancer with the band Green Fields of America. In 1994, Flatley became one of the main performers and choreographers of the dance show Riverdance. As an independent choreographer, Flatley founded Unicorn Entertainments Ltd and directed his own show, Lord of the Dance, in 1996.
CONCLUSION
As we can see, Irish dances are a living example of the fact that folk dance can be extremely popular both among the people themselves and outside one country. Moreover, it is not necessary to radically change the style in favor of modern trends. Irish dance performed to traditional music has not changed for centuries and at the same time lives in a watery rhythm with its people. Lively and dynamic, bright and imaginative Irish dance wins the hearts of not only spectators, but also professional dancers. And the proof of this is the major competitions and championships that will give birth all over the world and their youngest participants are less than 8 years old.
Traditional Irish dances are a constant source of inspiration for dancers, choreographers, choreographers and teachers. And, what is especially interesting is that the Irish dance choreography is simple and incredibly complex at the same time, and the picture of the dance captivates and holds the viewer's attention for two hours.
In contact with
Ireland has always been famous for its unsurpassed dance culture, but recently the interest from the world community has increased even more thanks to spectacular shows that use Irish dance already in modern processing.
The history of the creation of dance art
This culture has passed its thousand-year history and, according to many researchers, originated from the time of the Celtic peoples, who founded their state on the territory of modern Ireland.
The most ancient image, somewhat reminiscent of an Irish dance, is the Celtic Sean-Nos performed by the Gauls who lived on these islands in the distant past.
The first mention of dances similar to today's modern dances was dated around the eleventh century.
A little later, under the influence of the Norman conquerors, a completely different performance culture began to emerge - a group of people leading a round dance. And in palaces and at balls, Irish dance began to gain its popularity already in the sixteenth century.
A little later, about two centuries later, the first teachers of dance art appeared, thanks to whom many types and varieties of current modern variations arose. But at the same time, a terrible oppression of this culture began, so the performance of the dances was kept in strict secrecy. The church considered dance art to be something obscene. Many historians agreed that the Irish dance acquired the characteristic motionless position of the hands on the belt precisely after the Christian priests announced that dancing in this way was indecent and inappropriate, reminiscent of sacrilege or an invisible connection with a demon.
Modern look
Already in the nineteenth century, various competitions began to gain popularity in small villages and cities, the prize for which could be a big pie. The modern period in dance art begins at the end of the same century. The Gaelic League was created, which set itself the goal of preserving the Irish musical culture, which had been oppressed for the last one and a half centuries, at all costs.
Dance rules were established in 1929 by the then Irish Commission, which acted on various competitions. As a result, the technique has changed significantly - modern Irish dances are performed on it to this day. In the 30s, women began to take part in productions more often and got the opportunity to teach in educational institutions where they taught dance art.
Solo performances
Irish dances have many varieties and types. An amazing pattern of movements can be seen in the performance of solo dancers. They are a real embodiment of a certain grace and lightness, but at the same time, energy and rhythm. Both soft and hard shoes are suitable for solo. It can look like laced ballet shoes or boots with heels, depending on who it is intended for (men's and women's).
How to dance Irish dance, many dancers participating in competitions learn from childhood to a variety of national melodies (reels, jigs, hornpipes) that they use for solo performances. They all have their differences, but the generalizing features are arms pressed to the sides and a beautiful posture with a motionless torso. This is done in order to pay as much attention as possible to all the complexity and clarity with which the dancers' legs move.
Sets
It is worth highlighting, as a separate category of solo Irish dances, traditional sets. They are performed in hard shoes and represent a standard set of movements. As the Irish dance set is called, so is the name of the melody to which it is danced.
There is also an unconventional version of this style, performed to a slow tune by open level dancers. The set of movements may depend on the imagination of the teacher or the wishes of the performer.
group dances
This variety is different in that the dancers stand opposite each other, thereby forming a square, mainly the famous quadrilles. They are not natively Irish, so their movements may be present in various European styles. The differences between the dances are in the number of figures, which can vary from three to six.
In the 80s, this type became widely known to the public and was taught in many dance schools. Today, social group dances are performed at a very high speed and in a kind of wild manner.
Kaylee
This word, translated from literally sounds like "a fun holiday with music and dancing." At the beginning of the twentieth century, a new style of group performances was also called by this term, which has survived to our time.
Kaylie is usually danced in soft shoes and, unlike the solo types, the dancers use hand movement in it. The main thing in its execution is the full interaction of all partners.
Basically, this type of dance is performed to jigs and reels. They include a different number of dancers: from four to sixteen. Variations can be very different, but often these are two or four pairs of people standing opposite each other. All types of keili can be conditionally divided into linear (progressive) or curly. The former imply that all the dancers stand in the form of one large and long line. When they dance the entire full cycle, they move one position, respectively, they already perform the next stage of the dance with a new partner.
The second type of keili is most often found at competitions or representative events. Various choreographic performances led to the fact that this category of dances began to look like real spectacular shows that won the hearts of many viewers.
At the present time, people of different ages can dance keili at various parties. And no matter in what manner and at what level they will be performed - an amazing feeling from freedom of movement and fervent rhythm will always arise in anyone dancing this dance.
It is believed that Irish dances are in no way inferior in their passion to Oriental dances, they are simply performed in a more intelligent and secretive manner.
It turns out that the Irish step occupies one of the main steps among many dance and staged shows.
The motives under which Irish modern sets and square dances, as well as other types of this art, are played mainly on bagpipes, violin and accordion, as a result, a rather groovy and provocative melody is obtained.
The Irish themselves say that the best dances are Irish dances, which symbolize the strong spirit and unyielding will of this people.
Probably the most common question that any Irish dance teacher has to hear, regardless of the direction, style and scale of the school: “Will you teach how to dance a jig?”. The easiest way is to answer “yes” and leave it to the conscience of the questioner which jig he had in mind, because it can be a dance from the Lord Of The Dance show, and a competitive discipline, or a traditional group dance for parties.
In general, there are a great many schools, studios and circles of Irish dances in Russia now. There are no less materials on the theory and history of these dances on the net. Articles about dancing come in very, very different volumes, clarity, and quality. Unfortunately, with all the richness of choice, it is difficult to find a small overview text that simply and clearly explains what's what in the modern world of Irish dancing. Some write that Irish dances are “jigs, reels and hornpipes”, others are “solos, caylees and sets”. Both are true, but try to get the person reading this to tell the difference between a caley and a hornpipe and you'll have a lot of fun watching his face. And finally confusing the matter is the fact that often completely different types of dances have the same name.
This text does not pretend to depth and detail. It is written as an attempt to take an inside look at Irish dances in all their varieties and aspects - as they now exist in Ireland and beyond - and to get a more or less complete picture.
So. Dancing, as you know, begins with music. Therefore, the first thing a beginner dancer needs to know is what Irish melodies are. Basics: jig, reel, hornpipe and polka. Somewhere on the border of the poles and the jig there are slides, and in addition, the jigs themselves have several varieties (single, double, slip jigs). Please note: this is purely a musical division. The same reel can be danced in soft or hard shoes, solo or in pairs, threes, fours, etc., in a tavern or on a large stage, in traditional or author's choreography. But Reel will remain Reel. And if you ask the musicians to play reel, then you will get a melody with a musical time signature of 4/4, but what you do to it is your personal choice. To a greater or lesser extent, the same is true for the rest of the melodies.
In this way, the music unifies the diverse Irish dances. But what makes them different? In the most general terms, we can say that the place of performance and the type of spectator inextricably linked with it, as well as the formal goal of learning dances by the dancers themselves. To be a little more specific, we can distinguish:
- dances "for a tavern" (to dance yourself and enjoy the process),
- dances "for competition" (to dance in front of other dancers and get judges' marks) and
- dances “for the stage” (to perform in front of spectators unfamiliar with the topic and delight them).
And if we use modern terminology, we get:
- sets-quadrilles and shan-nose,
- ceili and modern style solo dances, including solo sets (why completely different dances are called by one word, see below)
- author's shows: the legendary Riverdance and Lord of the Dance, as well as their numerous clones and followers
All three groups include solo and group dances. It is customary to dance sets and shan-nos in conditionally “ordinary” shoes, and at competitions and on stage they use special soft shoes or hard shoes with heels.
It must be said right away that in some respects all these varieties intersect. For example, formal 'traditional' dance competitions have become popular lately, while outside of Ireland, sport dances are regularly performed at concerts in clubs solely for their own pleasure. But such rapprochement is the result of the development of dance culture in the last few decades, which, however, does not cancel the internal differences in directions.
To be continued...
Irish dance - a whole group of traditional dance forms that originated in Ireland - is divided into domestic (public, social) dances and concert dances (theatrical dances or staged dances, as they are commonly called in the UK). Public or household Irish dances - keley and set dances. Stage dances are traditionally called solo dances.
History of Irish Dance
The earliest evidence of Irish dancing dates back to the time of the constant movement of various peoples through migration and invasion of the territory of Ireland. Each of the peoples brought with them their preferred types of dance and music. There is very little evidence of the development of Irish dance in the most ancient history, but there is evidence that the Druids practiced "circular" dances to perform religious rites dedicated to the Sun and Oak, signs of which are clear today.
When the Celts filled the Irish lands, arriving from Central Europe, they certainly had their own forms of folk dance. After the introduction of Christianity, the monks illustrated consecrated manuscripts with pagan Celtic symbols, and the peasants preferred to preserve the pagan spirit in music and dance. The Anglo-Norman conquests in the twelfth century respectively influenced the customs and culture of Ireland. Carol's music, popular among the Normans, was the following form: the soloist performed a song surrounded by dancers who echoed the same song to him. In the sixteenth century, written sources certify three main Irish dances:
Irish "Hey" (dancers circle partners)
Rinnce Fada (long dance)
Trenchmore (old peasant dance)
In one of the letters of the English representative in Ireland, Sir Henry Sidney, to Elizabeth I in 1569, there are references to girls performing an Irish jig in Galway. He wrote that they were very beautiful, splendidly dressed and danced first class. In the middle of the sixteenth century, dancers were invited to the great halls of newly built castles. Some dances were adapted by the English colonizers to be performed in the royal halls of Elizabeth, such as "Trenchmore" and "Hey". When the royalists sailed on a ship to the shores of Ireland, they were met by girls who performed an Irish folk dance, and three couples met King George III in 1780 in Kinsale (Cork County). They stood in a row and held a white handkerchief. As soon as the music started, they moved out and formed separate pairs. At first, the couples danced with a scarf at a slow pace, then the pace increased and the dance became more and more energetic.
Irish dances were accompanied by music performed on the bagpipes and harp. In the households of the Anglo-Irish aristocracy, the masters often joined with servants to perform certain dances. They danced even in the morning after waking up or during funeral processions, following in a circle to the sad sounds of bagpipes. In the eighteenth century, dance teachers appeared in Ireland. Mostly, they were traveling people, they moved from village to village and taught the locals the basic dance steps. The teachers were colorful characters, dressed in flowery clothes, and often had assistants. Many students could not, due to illiteracy, determine where the left or right foot was. To do this, the dance teacher tied straw to one leg, hay to the other leg and taught like this: “raise your leg with hay” or “raise your leg with straw.” Mostly, each teacher had his own area, and he did not encroach on other people's "dance" possessions. The level of performance of the most gifted students was very high, and solo dancers were held in high esteem. Often the doors were taken off their hinges, laid on the ground, and the dancer performed a dance on them. At the fairs, open dance competitions were held, in which the competition continued until one of the dancers collapsed from fatigue. Several variations of those dances are still performed in different parts of Ireland. The rich heritage in the form of dance forms is carefully preserved and today Irish jig, reel, hornpipe, sets, polkas, step dances are known all over the world. Solo dances and step dances appeared at the end of the eighteenth century.
Irish dance costumes
The costumes of the dancers today are only a reminder of the old dance costumes. Men in the past usually wore a highly buttoned waistcoat, tie, breeches, stockings and shoes. Ladies wore colored homespun ankle-length skirts and black bodices.
Each school today is distinguished by its original costumes. Most of the dresses are embroidered in the Celtic style, replicas of the famous Tara brooch, which pins a cape thrown over the shoulder onto the back.
Men's clothing is less decorated, but it has a rich history. Often it is a plain-colored kilt, a jacket with an intricately draped cloak on the shoulder. Shoes - for both men and women - heavy hard boots with heels for hornpipe, jigs, for reel - soft "ballet" shoes.
Irish dancing today
Today Irish Dance is a cultural symbol of the country and it is understandable that there are many dance organizations in Ireland that encourage dancing. Adults and children participate in separate competitions called "fesh" (feis, once the village dance parties were called) for valuable prizes. There are solo performances and group performances-competitions, in which dancers are determined by age groups, from six years to seventeen years old, and groups of the senior category. In all four provinces of Ireland, qualifying competitions are held, the winners then participate in the all-Irish championship. The Irish Dance World Championship takes place in Dublin on Easter, and representatives from England, Ireland, the USA, Canada, Australia, and New Zealand compete for the title of world champion.
Kaylee
The history of the Irish "caylee" begins with gatherings of neighbors for a pleasant time, with music, dancing and friendly conversations. Dance evenings were usually held on summer Sunday evenings when young people gathered at the crossroads. The music was performed by a violinist sitting on a three-legged chair with his hat turned upside down to collect donations. The violinist usually started with music for reel, but had to repeat the melody several times before the young people began to dance. But after a while the area filled up, and then the dancer could not stop.
In Ireland today there are many opportunities to enjoy Irish dancing. Informal dance evenings, "kaylee" sessions, when newcomers are shown their first steps, take place in large cities during the summer season, in which both the older generation and the youth take part with equal satisfaction. Thanks to the professional dance show Riverdance, the amazing Michael Ryan Flatley and his stunning Lord of the Dance and Dance Feet of Flames shows, today Irish dance is not just known all over the world. Students continue to come to dance schools in order to achieve the same recognition in the future as Gene Butler, Colin Dunn or Michael Flatley.
