Irish dance group
Grade 8-9, second year of study
Topic of the lesson: " Traditional Irish dance: history, features, specifics.
Educational technologies:interactive learning.
Kind of activity: Irish dance in soft shoes.
Purpose of the lesson: Systematization and deepening of students' knowledge of traditional Irish dances.
Lesson objectives:
- Introducing pupils to the musical traditions of the peoples of the world.
- Unleashing creativity and pupils.
Educational tasks:
- Developed and e creative independence of pupils.
- Formation of a common culture l and personality of the pupil.
- Developing the ability to work in a team and individually.
Didactic support for the lesson:
Musical accompaniment: traditional Irish music Reel, Light Jig, Slip Jig, Сross Reel, stage dance music.
Dance class.
Basic knowledge and skills: elements and combinations of Irish dance in soft shoes.
Lesson structure:Work in creative groups.
Lesson scenario
Part I: preparatory stage.
On the eve of the lesson, the pupils are divided into groups and receive buildings - to prepare material for a report on the types of traditional Irish dances in soft shoes, as well as on the history of Irish dance, its specifics and features.
Part II: "Revived History"
Teacher: welcomes students and guests, and announces the name of the event, talks about the team, participants and the topic of the lesson.
Masha: Dedicated to Ireland...
To this emerald island
The goddess brought people
And the female soul, fate,
And the path is thorny, difficult
Ireland got it that way.
And hundreds of years since then.
She fought and fought
And again gave life to people,
And took them to Tir-na-Nog,
And again she called for feats.
And fate gave us its chance:
At the very edge of the ocean
Behind the lush greenery of the meadows,
Look into the distance of her centuries,
To see the shadow of the events of old,
Hear the Celtic clang of swords
Druid magic of speech,
And bewitched by the goddess
We are eternal bards from now on,
O Eire, your beauty! (Author Dubkova O.)
Dasha : You can talk about the mythology of the Celts, about the Celtic languages and Celtic ornaments. Usually anything is hidden behind this concept, from "elven" dances to American tap dance, stylized as Irish. There are many interesting national dance traditions - Breton, Scottish, Irish. By and large, they are all Celtic dances. But very, very different. There are different "traditional" (with a well-established set of movements and strictly defined music) dances, so there is also a division into "individual" and "mass". Irish dances are dances in soft shoes (solo and group) and hard shoes (solo).
Nastya : the Irish dance movement began in our country - by copying the movements that could be seen on the cassette. When meeting with professional teachers, the surprise of realizing that how to dancing was great. Unfortunately, even being a talented and experienced choreographer, one can not consider the subtleties that make up the essence and technique of dance. You can copy the bindings, but get only styling. The similarity of many movements with American tap and classical ballet is very misleading.
Masha : Irish dances involve differentmuscle groups which are rarely used in everyday life. Even professional dancers need some time to work out the technique and “turn on” the necessary muscle groups, let alone amateurs. Help to evaluate your capabilitiesfeshies - Irish dance competitions, in which dancers from different countries participate.
Diana : Feis - festival of Irish culture, with competitions indancing , language, with a musical program and exhibitions. But most often it is a dance competition that is called fesh. Competitions are held in the categories: solo dances, sets, keley, figure dances in the author's choreography and "dance drama" (implying the presence of a plot).
Pauline : the calling card of Irish dances is reels, although this Irish dance came from Scotland, judging by the references in literature, only at the end of the 18th century. The Scottish reels quickly took root, but were transformed into the Irish manner and began to differ from the original source. Reel - as a rule, a very lively melody, under which one is drawn to start dancing. Ril goes back to the ancient hey or hay dance, which existed as early as the beginning of the 16th century. There is a version that the dance imitates the movements of a deer.
5 pupils perform Lead around and the first two steps of the traditional Easy Reel dance as a demonstration of the above.
Anya : Men rarely dance slip jigs at competitions, this is a women's dance. Although there are exceptions at feshas, and for teachers, the performance of any dance is a rule. Slip jig (hop jig, aka "sliding jig") is a dance that is performed to the music on 9/8. This is an exclusively female dance, which is why Irish folk dances are sometimes called "Irish ballet" - for graceful jumps and glides. Slip jig has long been a pair dance (in pairs - a man and a woman). If one couple danced, then it was a "round" dance, if there were several couples, then the couples stood in a line, and changed places in the dance.
4 pupils perform Lead around and the first two steps of the traditional dance Slip Jig.
Lera : jig - this is the word that comes to mind when referring to Irish dances, which is not surprising - this is the most ancient type of dance. There are several jig, the division depends ontime signature and the nature of the dance: simple or single (single jig), heavy jig (double - double jig and triple - treble jig) and slip jig (slip jig). The word "jig" comes from a common Germanic root meaning "repetitive movements".
Nastya : all these beautiful words - jig, reel, hornpipe - first of all, musical meters, and only then - dances that are performed to the appropriate music. So it’s quite possible to sing and play reel, jig, and hornpipe, and not just dance. In addition, it is possible to combine different sizes in one dance, this is typical for group dances.
8 pupils perform three steps of the traditional Light Jig dance.
Alyona : a beginner dancer is met by many terms: jig, reel, hornpipe, keley, set, step, fashion ... Irish dances are surprisingly democratic in the sense that they provide an opportunity for self-realization for both inveterate egoists and collectivist enthusiasts. Solo dances - an opportunity to show personal abilities, group dances (ceili, figure, group set dances) - a great chance to practice in creating an effective team.
8 pupils perform the traditional Cross Reel dance.
Olya : who were the Irish dance teachers? Professional dancers traveled all over the country, staying in one place from nine days to six weeks. They were always accompanied by a piper or violinist. The master looked impressive: he usually wore a "Carolingian" hat - a voluminous soft-brimmed hat, tailcoat with tails, narrow breeches to the knees, white stockings and "ball" shoes. In his hands the master held a cane with a silver head and a silk tassel. Dressed in this way, the master occupied a position higher than his piper or violinist, all local residents, and especially students, should treat him with respect.
Zhenya : the master considered himself a true gentleman, and behaved accordingly.
The arrival of a professional dancer was a real event. Usually he negotiated with the farmer and rented a building or a barn from him, in which classes were held. If the farmer had enough space in the house or barn, the teacher himself settled there. In return, the teacher gave free lessons to the farmer's children. If there was no place in the courtyard, the students took turns letting the teacher spend the night. There is evidence that sometimes teachers had to resort to the "hay-straw" technique - tying them to the feet of the students so that they could distinguish the left foot from the right! To explain the correct rhythm and sequence of steps, teachers had to compose rhymes such as these simple lines: "Step-jump, do-step-jump, swing-pike and turn."
Nina : the dance master, as a rule, was a bachelor; he did not have a permanent home and traveled from house to house within a radius of twenty miles. The glory of the master was not only and not so much the actual virtuoso performance, but the ability to compose dance steps. This skill was guarded by the master with the greatest care.
Even now, the status of a dance teacher is largely determined by his ability to compose new dances.
Kate : With the advent of teachers in Irish dancing, solo performances began to flourish. For two hundred years, teachers traveling around the country have had a huge impact on the development of Irish dance. It is to them that Irish figured and solo dances owe their existence. Thanks to their enthusiasm and dedication, despite all the difficulties, the foundations of Irish dance, as we know it today, were laid.
16 pupils dance the stage dance "Shamans".
The teacher says the final words, thanks all the participants.
Ireland is famous for its incomparably rich dance culture. The world interest in Irish dances of the last 10-20 years is due to the appearance of spectacular Irish shows.
In Russia "Riverdance" and "Lord of the Dance" are widely known. How to explain the appeal of Irish dance?
History of Irish Dance
Perhaps the history of traditional Irish dance should be calculated from the time of the emergence of the Celtic peoples - the Gauls), who founded their own state already in the 5th century BC. These peoples were distributed throughout Western Europe, and by the third century of our era, the Gauls had reached Ireland.
The oldest known type associated with Irish dance is the Sean-Nos of the Celts who lived in the British Isles from 2000 BC. In the twelfth century, under the influence of the culture of the Norman conquerors in Ireland, a round dance began to dance around a person singing a song. In the 16th century dance dances began to be performed in palaces.
And two centuries later in Ireland appeared itinerant dance teachers- the founders of two popular types today: group and solo. In the fifth century, Saint Patrick declared the lands of Ireland Christian. Due to the oppression of the culture of Ireland, which began in the 18th century, national dances for a long time were performed only under the cloak of strict secrecy. Folk dances were sharply condemned by the Christian church as "crazy" and "bringing misfortune". Some historians even believe that the characteristic motionless position of the hands on the belt appeared in Irish dance just after Church declares hand movements in Irish dances obscene.
As England conquered the adjacent lands, the neighboring peoples were subjected to cruel pressure: it is known that in order to destroy a nation, it is first necessary destroy her crops y. During the English colonization, the persecution of all manifestations of Irish culture intensified. The punitive laws that were introduced by the British in the mid-17th century forbade the teaching of anything to the Irish, including music and dance.
Therefore, for more than a century and a half Irish dancing was taught in secret. Dance culture existed in the form of clandestine classes held in the villages by itinerant dance teachers and in the form of large country parties where people danced in groups, often led by the same masters. The emergence of dance masters - wandering teachers, at the beginning of the 18th century marked the beginning of the modern dance school. To give shelter to a dance teacher was considered a great honor. The dance master was usually hired for a month.
At the beginning of the 19th century, Irish villages and small towns also became popular competitions. A large cake was placed in the center of the dance floor and served as a prize for the best dancer. The solo dance style was called Sean-nos. Solo dances were performed by masters. In mass group dances, French quadrilles and cotillions were reinterpreted in an Irish way.
Modern period in Irish dances begins at the end of the 19th century with the creation of the Gaelic League. She set a goal for herself: the preservation and development of the Irish language and culture, music and dance. Their painstaking work often came down not only to the preservation and enrichment of existing traditions, but also to their artificial unification within the framework of a new, often controversial, but common set of rules for all. However, such a sporting approach was very convenient for increasing entertainment and for holding competitions.
In 1929 was founded Irish Dance Commission to establish uniform rules for the performance of dances, competitions and refereeing. As a result, the dance technique has changed significantly. Dance schools were able to use large halls and a wide stage. The dancers were no longer limited in space and movement, and this enriched Irish dancing with many new steps and jumps, including passages all over the stage. The rule was finally fixed to keep hands strictly along the body. But some other provisions still exist. Starting from the 20s-30s. thanks to the Gaelic League, women became much more likely to compete and teach in dance schools. A well-defined sequence of steps performed became the basis for group dances and the caylee dances that descended from them during the creation of the Gaelic league of caylee dances, which developed from elements of step dances and French square dances.
Varieties of Irish dances
Three main types of Irish dance: solo, ceili and set. Solo dance mainly acts as a spectacle prepared by masters, or as a competitive form. It requires professionalism and many years of experience. Caylee, a credit to the Gaelic League, is a group of dances of Irish folklore layers - long dances in a line and dances in a circle, and dances created artificially. Kaylee is characterized by jumping and tightly pressed hands to the body - "hands at the seams".
Set dances appeared a little later after the Irish soldiers, who returned from Napoleon's wars, brought with them a square dance - four pairs opposite each other, forming a square. A quadrille with an increased tempo and actually Irish movements became known as a set. Sets consist of figures - movements performed in a certain sequence. The number of figures can be different - from two to six, and each with its own size - jig (6/8), reel (4/4) or hornpipe (4/4). There are no jumps in the set, which are typical for step dances, but because of the many varieties of steps, the dance looks very diverse.
Initially, Irish dances were performed only by men.. When appeared step, women were not trusted with him either. Now everything is mixed up. But, nevertheless, the competitions of young dancers aged twenty years and older are recognized as the most spectacular at the championships - full houses are recruited for their performances. Despite the dancers' adherence to the traditions of Irish dance art, in recent years the ballet finger technique has gained popularity: they walk in hard shoes, standing on their toes, which is contraindicated for children under twelve years old.
Irish dancing tonight continue to conquer the world. Dance schools, which include national Irish dances, attract many students not only in Ireland itself, but also in many other countries. Four major competitions are regularly held in the world - 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. It is interesting that a dancer of any level can take part in the championship, whether it is a beginner amateur or a high-class professional.
Irish Stepdance). Their distinguishing feature is fast and clear foot movements while remaining motionless body and arms. Irish solo dances were created by Irish dance masters in the 18th-19th centuries and quite rigidly standardized at the beginning of the 20th century in Ireland as a result of the activities of the Gaelic League, which eventually made it possible to create a numerous school of masters capable of performing a rather complex dance technique. It is on this technique that the spectacle of Riverdance and similar shows is based.Studio Divadance, St. Petersburg.
Designers: Zhuzha
© 2005 by Zhuzha
All types of Irish dances are performed exclusively to traditional Irish dance melodies: reels, jigs and hornpipes.
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✪ IRISH DANCE CONCERT
✪ Irish dancing. Why do the Irish dance like this?
Subtitles
Varieties of Irish dances depending on the melody and time signature
Jig (jig)
Hornpipe (hornpipe)
Researchers are sure that the hornpipe originated from England in Elizabethan times, in which it was performed as a stage performance. In Ireland it is danced quite differently and has been performed in 2/4 or 4/4 music since the mid-eighteenth century. Performed in hard shoes.
Story
The first information about Irish dances dates back to the 11th century. Since that time, there is the first data on the dancing festivities of Irish peasants, which are called feis, (pronounced " F Esh”), however, descriptions of the dances themselves first appeared in the middle of the 16th century. and were rather lengthy and obscure. It is not entirely clear which of the dances described at that time were actually Irish, and which appeared in Ireland under the influence of French and Scottish dances. However, all ancient Irish dances were characterized by a fast pace and side steps.
During the period of the English colonization of Ireland, the mother country continuously pursued all manifestations of Irish culture. "punitive laws", which were introduced by the British in the middle of the XVII century. forbade the teaching of anything to the Irish, including music and dance. Therefore, for more than 150 years, Irish dancing has been taught in secret. Dancing culture existed in the form of clandestine classes held in the villages by itinerant dance teachers (so-called "dance masters") and in the form of large village parties in which people danced in groups, often under the guidance of the same masters.
Some of the dance masters at the end of the XVIII century. began to create the first dance schools, of which the most famous were schools in the South (in the province of Munster) in the counties of Kerry, Cork and Limerick. There were famous schools in other cities. Each master could invent his own movements (jumps, jumps, turns). Different schools differed in the set of movements used in dances.
At the beginning of the 20th century, in the process of the “Gaelic revival”, a special division of the Gaelic league (subsequently spun off into a separate organization - the Commission on Irish dances) engaged in the study and standardization of traditional Irish dances in order to further popularize them among the Irish population (the League deliberately ignored dances in which foreign roots were strongly noticeable - for example, set dances that were quite popular in Ireland were ignored). The League adopted the southern (“Munster”) dance tradition as the basis for it, as the most pronounced in technical terms. In the course of the League's activities, the following were standardized:
- solo Irish dances (both performed to traditional melodies and special dance sets)
- group keley dancing.
Since then and to this day, there is a huge system of dance schools all over the world teaching these standardized ("modern") Irish dances, as well as a system
Ar Rinci Foirne ("group dancing") is a book describing the dances of the keili. It came out for the first time in the form of 10 described schemes in 1939. By 1943, the second book was published with ten more schemes, and in 1960 the last part was published. Further, the parts were combined, and still exist in the form of one book with 30 described caylee schemes.
Adisiarji (A.D.C.R.G. - Ard Diploma Coimisiun le Rinci Gaelacha) - Irish dance judge certificate.
Beginners level - the initial basic level of Irish dance technique.
Grades (Grade Exams) - an exam for dancers, including theoretical and practical questions on solo Irish dances and group dances. According to WIDA, it consists of 11 parts. After passing all parts, the dancer receives two teaching certificates - T.C.R.G. and T.M.R.F.
Drama Dance - show/mini performance competition, small stage small number in Irish dance competition
Drilling (drill, drilling) - a kind of training, which consists in the repeated repetition of an element, a bunch of elements or steps as a whole in order to improve the performance technique.
Intermediate level - the third level of development of the Irish dancer. The preparatory stage for the more difficult Open level.
Leaderround (lead a round) - the first step of any dance. Traditionally, it can be performed in a circle, but more often the direction is very different.
Oireachtas or Open Championship is a major championship. There are qualifying with the name Nationals, which can be several and held in different regions; major finals, such as the European Championship and the World Championship, as well as the largest and main ones - All Ireland, All Scotland, etc.
Open (Open level) - the highest level of Irish dance technique.
Open platform - (Open platform) - the status of holding events, when organizations allow dancers of any commissions, schools, teachers to participate in their competitions.
Premiership cup competition - for the title of the winner in their age group. At WIDA competitions they perform reel and jig light or treble.
Preliminary (Pre-championship) - competitions of the Open level, for dancers who do not yet have the right to dance the Open Championship.
Primary level is the second basic level of Irish dance performance. The preparatory stage for the more difficult Intermediate level. The dance moves are more complex and the music is slower.
Recall - the decisive round in the Irish dance championship, eliminating 50 percent or more of the participants.
Syllabus - a set of dances required for a particular championship or fashion, as well as the schedule of the fashion or championship.
Set (Set) - has several meanings:
Part of the traditional dance (trad set) - its second part
Common short name for solo dance (traditional set, modern set)
Common name for folk dance (folk Irish sets)
Type of formation in group dances (in the form of a set)
Step (Step) - has several meanings:
1. In the meaning of "scheme", "bundle" - the general name of the part of the dance, for example, the first step or the first bunch.
2. In the meaning that defines the part of the traditional dance set in hard shoes, where the first part is called “step”, and the second “set”.
3. In the meaning of the actual "step" - from the general definition of the dance direction, where the rhythm is beaten off by feet, dressed in special shoes with heels.
Timing (T, timing) - as a requirement for performance means a clear hit of the dancer's movement to the music. As a musical term it means a certain musical size (jig, reel, hornpuppy)
Tisiardzhi (T.C.R.G. - Teastas Coimisiun le Rinci Gaelacha) - certificate of teacher of solo Irish dances. The rules and regulations for the certificate were first introduced in 1943 by An Coimisiun. This is the first Irish dance teacher certificate, and later the Judge and Kaylee teacher exams were structured.
Temeeraf (T.M.R.F. - Teastas Muinteora Rince Foirne) - Keili dance teacher certificate
Feis is a festival of different areas of Irish culture. Specifically in Irish dancing, it means a regional competition. As a rule, the name of the event is associated with the city or the fashion is given its own unique name. For example, Moscow Open feis or Sweets of May Open feis.
Championship (Open Championship) - competition level Open, where the winner receives the title of Champion
Trophy (Trophy) competition for the cup. In competitions, An Coimisiun perform 16 measures of any solo dance, except for the traditional set.
Shan Nose (sean-nos) is a native, solo traditional Irish dance style ("sean-nos is the old style"). This is a special kind of Irish folk dance, characterized by simple movements and patterns.
Show (show) - a large long performance, a dance performance of many numbers, if we talk about a big stage, or a small stage number, if we talk about competitions (show competitions).
Out (out) - an element of an advanced level in Irish dances - a straight leg raised high up. It can exist as a separate element or as a link with the rest (see Jump out)
Antrasha (from the French “entrechat”) is an element for advanced dancers. It is based on an element of classical choreography, where in one jump the dancer performs two or more crossed leg movements in the air from front to back. In the case of Irish dances, the main work is done by one leg.
Butterfly is a movement for advanced Irish dancers. When jumping up from two legs, the feet make circular movements down inward and up to the side and further down, similar to the flapping of wings.
Baisikl (bicycle, "bike") - a complex element of Irish dance. In the process of jumping, the movement of the dancer's legs is similar to the movement of the legs when riding a bicycle.
Brush (brush) - soft go step movement. It represents the movement of the extended foot from the bottom up to the “kat” - it resembles brushing movements with a brush.
Boxing (box) - a movement in the Irish step, when an element is created with the heels and feet, the outlines resembling a "box"
Body (body) - a figure in Irish ceili, consisting in turn of several figures, which is repeated several times during the dance
Drum roll (drumming rolls) - a step element consisting of three strokes: a step with the back foot, a front heel strike and a heel heel strike. The front leg makes twisting movements.
Jump (jump, "jump") - the general name of the movements when there is a jump. There are many varieties depending on the execution technique: for example, “jump two three” (jump 2-3) is a simple basic jump, sometimes called a “reel jump”. When combined with other elements, it can have the appropriate names: hop-jump, cut-jump, etc.
Jump over (jump over, leap) - a high jump with hovering in the air, which is achieved by holding the leg in front and sharply raising the back
Jump out (jump out) - a high jump with hovering in the air with the removal of the hind leg forward to move out
Kat (cut, "cut") - the basic element, as a rule, performed with one leg bent to the side and up (the foot tends to the thigh, the knee looks down), while the supporting leg is straight. It happens double front, when the front leg does two repetitions of the element during one jump, as well as double bilateral, when both the front leg and the back support do the kat - both legs look in different directions.
Click (click) - step element. A common name for when a kick is made with heels, where one foot strikes the other. The sound is like a click. There are many varieties.
Simple clicks (click 2-3) - simple elementary clicks
Through clicks - clicks with promotion
Click-out - strikes occur during the movement of straight legs, where the striking working leg rises high up
Click-cut - hit with the back foot on the front with the removal forward to the cat
Back click - movement occurs from behind
Double/Triple/Guadruple clicks - double, triple, quadruple hit
Kick (kick) - a movement in Irish dance, where the blow of the front foot of the back foot falls on the front heel. It occurs more often in step dances.
Leaderround (lead around) - the first step of any solo dance, it can be a circle or another trajectory.
Point (point) - the basic element. The leg is extended from the hip to the foot, the toes are collected, the touch of the floor occurs in the form of a “point” with the outstretched thumb, the heel looks up.
Point and back (point & back) - the basic element, consisting of the point itself and then the leg removed back.
Promenade (promenade step, "walking step") - a basic element in Irish dances, used mainly as a step in group dances and in simple solo dances, can be a link in more complex steps. In the "people" it is sometimes called a country step (country step), that is, a "village step".
Bird (bird) - a complex element, which is a jump with a high raised front leg, bent push and landing on it.
Five - an element of Irish step, consisting of five beats
Rising step (rising step, similar to rise & grand) is a basic jig element, which is essentially a bunch of “hop, hop back, hop back, 3 steps in place”. It is used in basic dances and as a connecting element in jig keili dances.
Reel jump - basic jump, otherwise jump-2-3. In colloquial speech, it can be abbreviated to the word "ril".
Side step (side step, "side step") - a connecting element in Irish dances, steps to the side or forward, made successively with the right and left foot.
Swing (swing) - has two meanings:
1. Circular rotations in pairs in keili dances
2. Solo element, which is a jump up with a high raised bent leg from behind.
Stump (stump) - the basic element of step dance, consists of a single blow made by one leg (full foot or heel) with the weight of the body completely transferred to it or in its pure form by a single blow with one foot.
Slide (slide otherwise “tip & dawn”) is the basic element, as a rule, of Irish step. Consists of a single sliding motion, performed forward or to the side with steps. There is a variety of execution with one foot and alternately changing legs. Can be short, otherwise "tip" or sliding/extended "slide"
Seven - as a rule, an element of Irish step, consisting of seven beats. Sometimes it is Sevens (see Sevens).
Sevens (sevens) - an element of Irish keili dances, which is a repeating side step from left to right and back. Sometimes this is called side-step in solo dances. See side step.
Turns (turns) - the general name of the movements where a turn occurs
Twist is the general definition of circular movements of the foot. It can be used as an ornamental element when performing various elements of soft and step dance, or as an independent element: when moving forward, the front foot opens, the back foot comes forward; when moving back - vice versa.
Toe (toe) - a characteristic frequently used element of more step Irish dances. A single blow is made by the front part of the foot, which is placed “on the toe”. It can be performed in the form of a double blow - double toe. In this case, the blow can be in front or behind. There is also a version of performance in soft dances.
Treble (treble) - the main element of the Irish step dance, consisting of two strokes. There are front trebles (front trebles), back (back trebles); and also they can be slow (slow trebles), fast (fast trebles), double, triple, etc.
Toe wolf, toes, toe stand (toe walk, toes, toe stand) - the performance of Irish step dance in the “on the fingers” position, similar to the movement in ballet on pointe. It can be static - toe stand, or occur in motion - Toe walk. There are many varieties and variations of such movements.
Three is an element of Irish step, consisting of three strokes. Sometimes this is called a 3-hand.
Figure - part of Irish caylees
Heel (heel) - a simple movement, as they say, on the heel. Also a common name for movements when the heel is used in the dance pattern.
Hop (hop, "jump, jump") - the basic element, which is a jump, where the supporting leg is straight and the front leg is bent at the knee. It happens to be the front single, as well as double - in the case of a double repetition in one jump. It is also performed from behind - otherwise, back double hop (back double hop) or back double up (back double up).
Hop back (hop back) - the basic element, the general name of the movement, where the leg raised to the hop is then removed back and lowered sequentially after the supporting one. In the case when, when moving the leg back, a jump is made on two legs, this is a “hop back jump” or “hop jump”.
Change (change) - basic movement, which is a change of legs
Four - an element of Irish step, consisting of four strokes. This is sometimes referred to as a 4-hand.
2-hand, 3-hand - small figured dances, respectively 2 or 3 people participate, and this is usually reel. Author's dances.
4-hand, 6-hand, 8-hand, 16-hand - group keili dances with corresponding participation from 4 to 16 people. They have the described schemes and are executed strictly according to the description.
Jig is a type of timing and the common name for the oldest Irish dance. It happens: slow, fast, step and soft. There are: treble jig, single jig, light jig, slip jig.
Keili (Ceili) - the general name of the group of Irish dances. 2 or 3 participants - small figured dances, 4-6-8-16 - large group dances, 30 schemes of which are described in the book Ar Rinci Foirne.
Light jig (Light Jig) - Irish dance, double jig (Double Jig), musical timing 6 \ 8. The simplest dance, performed in soft shoes.
Modern set (Modern set) - a complex dance of an advanced level, it can be a jig or a hornpipe, performed to traditional melodies, but with the author's choreography. Dancing solo in the decisive last round of the Open Championships.
Non-Traditional Set = Modern set
Reel - Irish dance with Scottish roots, musical timing 4/4. It can have a different speed with its corresponding complexity. It can be soft (soft reel) or performed in boots (treble reel).
Single jig - Irish dance, musical timing 6/8 or 12/8, single jig. The simplest dance, performed in soft shoes. It features a large number of jumps, simple steps and elements, sometimes also called Hop Jig
Slip Jig - Irish dance, musical timing 9/8. Performed mainly in soft shoes, it is considered a predominantly female dance.
Treble jig (Treble Jig, Heavy Jig) - Irish dance, musical timing 6 \ 8, jig in hard shoes, accompanied by a characteristic rhythmic pattern, and can be slow and fast
Treble Reel is a hard shoe dance performed in the timing of the reel. See Reel
Trad set (Traditional Set) - Irish dance, can be a jig or a hornpipe, performed to recognizable melodies with traditional choreography. Mandatory dance of solo competitions, each level has its own dance.
Figure Dance - group dance. It can be small (2- and 3-hands) and more massive (from 10 people or more)
Hornpipe (Hornpipe) - Irish dance with English roots, musical timing 2/4 or 4/4, performed mainly in hard shoes.
Hop jig = see single jig
Association or Commission - an organization that combines a number of schools with its charter, rules, president, etc. Under the patronage of this commission, competitions and other dance activities are held. At the moment, there are about 20 such organizations, some of which are independent, and some are regional branches of AnKom
A.I.D.A. - Australian Irish Dancing Association Inc is the largest Irish dance association based in Australia. It is among the strongest. Member of C.L.R.G. Official site http://aidainc.com/
Conradh na Gaeilge - The Gaelic League is an organization formed on 31 July 1893 to preserve the Irish language and culture. Organizers: Douglas Hyde, Eugene O'Grooney, Eoin MacNeil, Luke Walsh. It was with the founding of the League that Irish schools, including those of Irish dance, officially began to open. Commission C.L.R.G. - the official brainchild of this commission. Official site https://cnag.ie
C.I.D.T. - The Congress of Irish Dance Teachers or AnKogal (An Comhdhail, Comhdhail na Muinteoiri le Rinci Gaelacha Teoranta) is the second oldest Irish dance commission after C.L.R.G. The platform is closed in England and Ireland, excluding Darry. This fash is held in conjunction with C.L.R.G. On the territory of America, all fashies are held with an open platform. Official site http://www.irishdancingorg.com
C.L.R.G. - AnKom (An Com, An Coimisiun le Rinci Gaelacha) is the oldest and largest Irish dance commission. Since 1930 existed as a governing body for all activities in the Irish dance world, was and is under the patronage of the Gaelic League. Tomas O Faircheallaigh was President from founding until 2004. In 1932 The composition of the commission was approved and its main activity began. It has about 9 official branches, the platform is closed on both sides, only teachers and judges certified by the commission are allowed to join. With the filing of this particular commission, books are published that structure and describe all keley dances. Official site http://www.clrg.ie/
C.R.N. (Cumann Rince Naisiunta) - exists since 1982. One of the few commissions with an open platform. The main motto: "Do not do to others what you would not like done to you". Created by a group of 12 teachers. They adhere to the traditional style, where they value dance technique and timing more than complex tricks. Official site: http://www.crn.ie
C.A.I.D. - Celtic Association of Irish Dance. - an organization that promotes Irish dancing for fun - "just for fun". You can join without having a teaching certificate. It has schools in England, mainly in the South East and Ireland. Some of the games are closed and participation is possible only by invitation, the other part is an open platform. Official site: http://caid-irishdance.webs.com
C.C.E. - Comhaltas Ceoltoiri Eireann is a large organization promoting traditional Irish music. Conduct music, dance and language classes. Official site: http://comhaltas.ie
C.I.D.A. (formerly C.D.A.) - Celtic and Irish Dance Association Inc. - a small association in southern Australia. It exists since 2001. They promote the simplicity and accessibility of Irish dances to everyone, without glamor and huge financial investments, in particular, this concerns the rigor in the traditional costumes. Notable for the fact that each participant is given a diploma of the participant of the competition. Official website: http://www.celticdance.com.au
C.M.F.A. - Cead Mile Failte Association - a small dance organization in several counties in England (Hertfordshire, Kent, Essex, Sussex and Wiltshire). They carry out feshes among their schools. But there is an exception, the Hemel Open summer fashion with an open platform. Official website: http://cmfa-id.co.uk
C.R.D.M. - Cumann Rince Dea Mheasa - the commission, which has existed since 2002, has an open platform. The purpose of the founding was to preserve the history of Irish dance and promote it into the future, aims to make Irish dance accessible to all. Calls itself an organization with a business reputation. Official site: http://www.crdm.ie
C.R.G. Cumann Rince Gaelach, established in Ireland for approximately 20 years, promotes high dance standards while maintaining both enjoyment and competitiveness. Commission with an open platform. They hold one competition per month and try to ensure that all participants receive awards. Official site: http://crgirishdance.webs.com/
F.D.T.A. (Festival Dance Teachers Association) - since 1971 it was called Nine Glens Association, since 2002 it exists as FDTA. They are unique in their original traditional style of dancing, referred to as "festival style". They are located mainly in Northern Ireland. offer a calm and vibrant atmosphere in which to learn, dance and compete. The dance festival is very traditional and different to what is seen in other feiseanna but there is a continuing crossover style between them and their school members can dance the open feiseanna platform if they wish. Official site: http://www.fdta.net
J.I.D.A. - Japan Irish Dancing Association is an Irish dance commission in Japan that has existed since 2000. Official website: http://www.roisindubh.jp/jida/
I.D.T.A.N.A. - The Irish Dancing Teachers Association of North America is an association founded in 1964. It is in partnership with An Coimisiun and has several branches: Mid Atlantic, Mid America, Western US, Eastern Canada, Western Canada, New England, Southern US. Official site: http://www.idtana.org
I.D.T.A.C. - The Irish Dance Teachers Association of Canada is in partnership with the Irish Dance Teachers Association of North America, the North American Feis Commission and An Coimisiun Le Rinci Gaelacha. Official site: https://idtace.wordpress.com/
I.M.D.A. - Irish Music and Dance Association Association of Irish Music and Dance Charitable non-profit cultural and educational organization. It was created to develop, support, coordinate all programs in the field of Irish dance and music. The mission of the association is to support and promote the Irish cultural traditions, ensuring their further development.
Official website: http://irishmusicanddanceassociation.org
N.A.F.C. - North American Feis Commission is the governing body of An Coimisiun le Rinci Gaelacha in Canada and America. Official website: http://northamericanfeiscommission.org
N.S.I.D. - Nordic Society of Irish Dancers - exists since February 2000. Created to communicate people interested in Irish culture in the Scandinavian countries and beyond. Unites schools in Sweden, Norway, Denmark, Finland. Under the auspices of the organization, Nordic Feis is held annually - a festival of Irish culture and fashion. Official site: http://nsid.org/
R.T.N. - Rince Tuatha Nua - Rince Tuatha Nua (Rink-a Two-a New-a) roughly translated means "New Irish Dance Community". Exist since 2013. Organized by teachers who want to make another reliable type of Irish dance organization. Based in America, the platform is open. Hosted by North American Nationals Official website: http://www.rtnirishdance.com
R.T.M.E. - Registered Teachers Mainland Europe branch of An Coimisiun le Rince Gaelacha, a group of teachers from mainland Europe Official website: http://www.europeirishdancing.com/
T.I.D.A.N.Z. - Traditional Irish Dance Association of New Zealand - An Coimisiun le Rinci Gaelacha branch in New Zealand. Official site: http://www.irishdance.co.nz
W.I.D.A. - The World Irish Dance Association is an independent full-fledged commission founded in 2004 in the Netherlands. Unites schools in more than 20 countries around the world. Open platform for all associations. Holds a full range of fashion and championships, including World, European and All-Ireland, takes exams, gives open master classes. Official site: http://irish.dance
Organizations formerly
AFC / AAIDT - American Feis Association / American Association of Irish Dance Teachers - American Association of Teachers of North America, was founded in 1998. Now dissolved.
BAID - British Association of Irish Dance, existed between 2000-2010.
FIDT - Federation of Irish Dance Teachers, North American organization.
IDN - Irish Dancing Net - started as a movement to resist commercialization, ownership and power, aiming to ensure the quality and value of Irish dancing
NAIDF - North American Irish Dance Federation Once an independent North American Federation with an open platform. The association has now merged with WIDA.
PIDTA - Performance Irish Dance Teachers Association - was organized to bring together schools, teachers and dancers who are not interested in competitive activities
S.P.I.D.A - St Patrick's Irish Dance Association - an organization based in Southern England in the 90s. After its closure, the schools merged with CAID and CMFA.
Pamps - pumps - shoes for Irish soft female dance
Boots - shoes for Irish hard dance
Reel boots - shoes for soft male dance
Tiara, Tiara - a bright decoration for the head, women's accessory as an addition to the hairstyle
Ban - bunch - a small chignon as an ornament to wear at performances
A wig or full wig is a full curly wig, traditionally used in competitions by girls to keep traditions and keep their hair.
Hards - shoes for Irish step, or the general name for dancing in hard shoes
Softs - shoes for soft dancing or the general name for dancing in soft shoes
The belt is once a part of the Irish dancer's costume. In old schools they were worn in the form of a cord-belt with tassels, then they were transformed into wide belts. At the moment, such belts are traditionally awarded to young people - winners of big championships.
Terms that are often used in the course of practical exercises :)
Biryulyovo is the eponymous municipality of Moscow, through which sometimes the dancer turns his leg, although he knows the shortest path - from his own hip
Home is a place where everything is usually forgotten, starting from the dance pattern, ending with turnout, crossing and even timing.
Ivan Fedorovich Kruzenshtern - "a man and a steamboat", who performs all their independent menial work for the dancers. Sometimes replaces AS Pushkin.
Krakozyabra is a very complex element of Irish dance, which is beautiful in perfect performance, but is not given for learning even from the hundredth repetition.
The grasshopper is a figure of a solo dance, vaguely reminiscent of a "hop".
Crocodile - a figure of a solo dance, where two straight legs raised up resemble a bloodthirsty crocodile.
NUIDA (NUIDA, Nemnogo Ubogo Irish Dance Association) an alternative or sofa dance commission of Irish dance with a complete lack of technical requirements, where a dancer is usually sent if he does not fit any official organization
Cucumbers - an irregularly shaped leader round, as well as a figure in a keili, consisting of sevens in a row.
Pornpipe is a dance performed not in the most decent way, but remotely reminiscent of the traditional hornpipe in choreography.
Trouble - appears at the dancer and his teacher when the treble does not break through. In this case, sometimes a treble jig is transformed into a "trouble jig".
Ticher is a man who teaches Irish dance from scratch. It also happens to be a coach when he makes you do the plank and jump rope, as well as a teacher when he gives educational lectures
Ears - knees, the collariness of which is out of control.
http://site/irish-dance-dictionary
© Killarney Irish Dance School 2014-2016
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.
