Helen Brennan - The Story of Irish Dance

An Comhairle Ealaonn, The Arts Council of Northern Ireland, Ciarn Carson, Thady Casey, Willie Clancy, Jimmy Ward, J.C. Talty, Breandn Breathnach, Muiris Rchin, Ronach U gin and the staff of the Department of Irish Folklore, U.C.D., Harry Hughes, Michel Silleabhin of the University of Limerick, Lillis Laoire, do., Finbar Boyle; my aunt, Grinne Brennan, Jim and Maggie McGrath, Tom King, Annie May Fahy, Mick Hoy, Mary MacConnell, Breandn (Bonnar) Cnimhs, Joe and Siobhn ODonovan, Donncha hallaithe, Proinsias Maonaigh, Harry and Catherine Fairtclough, Brigid Flanagan Howard, Bob Quinn, Nicholas Carolan and the staff of I.T.M.A., Paddy ONeill, Sen Cearnaigh of the Ordnance Survey, Ireland; Proinsias Conluain, Seamus Hosey, Martin Talty, Martin (Junior) Crehan, Seamus Tansey, the Irish Folklore Commissions collectors in particular P. J. Gaynor, Jim Delaney, Michael J. Murphy, Seosamh Dlaigh (Joe Daly), Samus Ennis, Peadar Discn and Niocls Breathnach; Ted McGowan, Johnny O Leary, Collette Conaghan, Joan Flett; Mothers Annunciata, Vianney and Gerard, who taught me English, Irish and Music in Loreto Convent, Bray; Michael (Mickle) Quinn, Sen Cuinn of T Chlin, Adrienne Kaeppler of the Smithsonian Institution, U.S.A.; Jean Jarrell of the Laban Centre, London; Tommy and Annette Munnelly, Pat O Connell and Mire Delaney, Nuala OFaolin; my parents Flann and Elsie Brennan ne Hickey, my parents-in-law Terry and Moira Corcoran ne Quigley, Nuala OConnor, Gary Matthews, Anne Kirwan-Kelly, Hae Kyung Um, Toms Faircheallaigh of An Coimisin le Rinc Gaelacha, John Cullinane, do., Martin Stokes, formerly of Queens University, Belfast, who constantly urged me to put my thoughts down on paper; and most especially my partner-in-life, Sen Corcoran, without whose love, support, clear-eyed insights and generosity of intellect this book would not have seen the light of day.

Since many readers will have little or no idea what exactly is happening during the flurry of movement that goes into a step, here are some of the step elements in traditional step dance, together with a brief descriptions of how they are done. Based on observation of dancers throughout Ireland over the last twenty years or more, they form the beginning of a process of unravelling the complexity of the various styles found in the country. As this appendix is intended for the general reader, they are somewhat abbreviated. Also, the use of terms such as southern, western and northern styles will, undoubtedly, be refined in the future as the study of Irish step dance is further developed.

Since standardisation has as yet not affected the living tradition, it must be understood that not all dancers in the Munster style will make use of all these step-elements. Some dancers will not have names for the elements they use, and, most confusingly, different names may be used in different parts of the region for the same movement. Munster stepping may also be seen in many other parts of the country since it was the only style to have been codified and systematically taught.

It forms the basis of the style used by the modern Irish dancing schools, albeit in a heightened, or as they describe it, a developed form. It also is the origin of the stepping to be seen in Riverdance and other stage shows, since the choreographers and dancers in these shows are the product of the modern dancing schools.

The most prominent feature of the southern style is that the dancer is poised on the ball of the foot. The foot does not drop on to the heel except on rare occasions. The basic foot position is feet side by side with toes pointed outwards, but not exaggeratedly so.

This can be performed in place but usually involves a forward movement. It has been described by some dancing teachers as kicking a small pebble. Begin with basic position and move forward, striking the floor a glancing blow lightly with the ball of the right foot thrown forward and then lightly stepping on the same foot. Repeat off the left foot. The southern hornpipe makes use of the single shuffle in many steps, particularly in the lead or introductory step. In the hornpipe, the single shuffle directly mirrors the rhythm of the music.

From basic position, step on to left foot, then throw the right foot forward, striking the floor with the ball of the foot and immediately return it to the starting position, striking the floor again on the way back. Thus the floor is struck three times, and these strokes correspond with the three quavers forming half of a bar in a double jig. The name comes from the double stroke given by the foot that is thrown forward. A typical bar in double jig time would make use of two double shuffles.

Begin, as in the double shuffle, with the feet side by side. Step on to the left foot, then kick the right foot forward, back and forward again, striking the floor with the ball of the foot during each movement.

The dancing foot is swung forward and the floor is struck by the rear edge of the heel, with toes turned up.

The inside edge of the heel of the leading (dancing) foot is kicked a glancing forward blow by the inside toe of the other foot. In the old-style Munster jig, the kick is directed at the outside of the opposite heel.

There are three types: the ground cut, the half cut and the full cut. This step element basically involves crossing one foot over the other.