History of Irish Dance
A General History of Irish Dancing
Ancient and Medieval Ireland
The early history of Irish dance reveals a constant shifting of population through migration and invasions. Each of these peoples brought their preferred types of dance and music.
There are only vague references to the early history of dancing in Ireland, but there is evidence that among its first practitioners were the Druids, who danced in religious rituals honouring the oak tree and the sun. Traces of their circular dances survive in the ring dances of today. When the Celts arrived in Ireland from central Europe over two thousand years ago, they brought with them their own folk dances.
The sean-nós is the oldest form of Irish dance that is still performed today
The sean-nós is the oldest form of Irish dance that is still performed today. … Early records suggest that this form of dance was predominantly found in rural Ireland although evidence indicates that foreign sailors (such as those from North Africa or Spain) arriving in ports such as Limerick added their own national style of dance to the music, accompanying the sean-nós dancers. Competitions are still held today, mainly by the older generation, in Western Ireland including the Aran Isles.
Around 400 AD, after the conversion to Christianity, the new priests used the pagan style of ornamentation in illuminating their manuscripts, while the peasants retained the same qualities in their music and dancing.
The Anglo-Norman conquest in the twelfth century brought Norman customs and culture to Ireland. The Carol was a popular Norman dance in which the leader sang and was surrounded by a circle of dancers who replied with the same song. This Norman dance was performed in conquered Irish towns.
Early records indicate that dance was an integral part of community life in Ireland as far back as the 11th century, indeed it is recorded that the Viking, Eric the Red having 'visited' Ireland took with him two Irishmen on his voyage of discovery to North America, although there is no evidence of any dancing to celebrate the occasion of the discovery!
The Tudor Era
Three principal Irish dances are mentioned often in sixteenth century writing: the Irish Hey, the Rinnce Fada (long dance) and the Trenchmore. One of the first references to Irish dance is in a letter written by Sir Henry Sydney to Queen Elizabeth I (who reportedly was "exceedingly pleased with Irish tunes and dances") in 1569. "They are very beautiful, magnificently dressed and first class dancers," Sydney wrote of the girls he saw dancing enthusiastic Irish jigs in Galway.
One of the first references to Irish dance is in a letter from Sir Henry Sydney to Queen Elizabeth I, who was "exceedingly pleased with Irish tunes and dances" in 1569
Sydney went on to describe the dance formation, observing the dancers in two straight lines which suggests they were performing an early version of the long dance.
During the mid sixteenth century, dances were performed in the great halls of the newly built castles. Some of the dances were adapted by the sixteenth century English invaders and brought to the court of Queen Elizabeth I. One of these dances was the Trenchmore, which was an adaptation of an old Irish peasant dance. From this period onward another style of dance called the Hey was popular where female dancers wound in around their partners, in a fore-runner of the present day reel.
Royalty, Aristocracy, and the Suppression of Irish Culture
When royalty arrived in Ireland, they were greeted at the shore by young women performing native dances. When King James landed at Kinsale, County Cork, in 1780, he was welcomed by dancers. Three people stood abreast, each holding ends of a white handkerchief. They advanced to slow music and were followed by dancing couples, each couple holding a handkerchief between them. The tempo of the music increased and the dancers performed a variety of lively figures.
Irish dancing was accompanied by music played on the bagpipes and the harp. In the houses of the Anglo-Irish aristocracy, the master often joined with servants in some of the dances
Irish dancing was accompanied by music played on the bagpipes and the harp. In the houses of the Anglo-Irish aristocracy, the master often joined with servants in some of the dances. Dancing was also performed during wakes. The mourners followed each other in a ring around the coffin to bagpipe music.
Because of the suppression of Irish culture, county dancing continued in secrecy during the 1700s. Early quotations from that period state "In every field a fiddle and the lasses footing it till they are all a-foam" and "The young folk dance until the cows come home."
The priests however, condemned this style of dance: "In the dance are seen frenzy and woe". In fact, some sources indicate that Irish dancers traditionally dance with their arms by their sides because the priests interpreted the movement of the arms as sexual!
The Dancing Masters
During the eighteenth century, the dancing master appeared in Ireland1. He was a wandering dancing teacher who travelled from village to village in a district, teaching dance to peasants and staying with different families who were honoured by their selection as hosts.
The dancing master was a wandering dancing teacher who travelled from village to village in a district, teaching dance to peasants and staying with different families
Dancing masters were flamboyant characters who wore bright clothes and carried staffs. Their young pupils did not know the difference between their left and right feet. To overcome this problem, the dancing master would tie straw or hay to his pupils' left or right feet and instruct them to "lift hay foot" or "lift straw foot."
These men were the originators of todays Set and Ceili dances and also effectively created the first dance classes which are in such abundance around the world today. Group dances were developed by the masters to hold the interest of their less gifted pupils and to give them the chance to enjoy dancing. The standard of these dances was very high. Solo dancers were held in high esteem and often doors were taken off hinges and placed on the ground for the soloists to dance on.
Each dancing master had his own district and never encroached on another master’s territory. It was not unknown for a dancing master to be kidnapped by the residents of a neighbouring parish. When dancing masters met at fairs, they challenged each other to a public dancing contest that only ended when one of them dropped with fatigue.
They seem to have been extremely well paid for their services, and were paid every three weeks from the proceeds of benefit nights arranged to pay their fees. Musicians were paid the following week, however; as many of the Dance Masters were also musicians they received additional fees. To supplement their wages, some of them also taught fencing and deportment.
The expression "take the cake" comes from this period as the first prize at local competitions was generally a locally baked cake.
Several versions of the same dance were to be found in different parts of Ireland. In this way a rich heritage of Irish dances was assembled and modified over the centuries. Today, jigs, reels, hornpipes, sets, half sets, polkas and step dances are all performed. Solo dancing or step dancing first appeared at the end of the eighteenth century.
Costuming
The costumes worn by Irish dancers today commemorate the clothing of the past. Each school of dancing has its own distinct dancing costume.
Dresses are based on the Irish peasant dress worn two hundred years ago. Most of the dresses are adorned with hand-embroidered Celtic designs, copies of the Tara brooch are often worn on the shoulder. The brooch hold a cape which falls over the back.
The clothes worn by men are less embellished but steeped in history - they wear a plain kilt and jacket, with a folded cloak draped from the shoulder. Male and female dancers today wear hard (also spoken of as hornpipe, heavy or jig) shoes, and for reels and jigs, soft shoes (ghillies) similar to ballet pumps are worn.
Organizations
Today there are many organisations promoting Irish dance. Dance schools and competitions have traditionally attracted pupils from Ireland and of Irish decent from around the world. Due to the increase in popularity and the high profile of Irish dance, people wishing to learn are now drawn from all nationalities.
The Feis has been an important part of rural cultural life. Children, teenagers and adults compete in separate competitions for Feis titles and prizes
Until the recent explosion of Irish dance onto the world stage, little was known about it. The majority of people being completely unaware of the scale of competition around the world still applies.
The Feis has been an important part of rural cultural life. Children, teenagers and adults compete in separate competitions for Feis titles and prizes. There are group and solo competitions where dancers are graded by age from six to seventeen and then into the senior categories.
The Irish word céili originally referred to a gathering of neighbours in a house to have an enjoyable time, dancing, playing music and storytelling. Today it refers to an informal evening of dancing.
Céilis are held in large towns and country districts where young and old enjoy together group dances. The céili can be traced back to pre-famine times, when dancing at the cross-roads was a popular rural pastime. These dances were usually held on Sunday evenings in summer when young people would gather at the cross-roads.
The music was often performed by a fiddler seated on a three legged stool with his upturned hat beside him for a collection. The fiddler began with a reel such as the lively "Silver Tip", but he had to play it several times before the dancers joined in. The young men were reluctant to begin the dance but after some encouragement from the fiddler, the sets of eight filled up the dancing area.
The Gaelic League and Modern History
The Modern History period begins in 1893 when the Gaelic League (Conradh na Gaeilge) was founded. This group encouraged the revival of Irish culture, a culture that the English had suppressed for centuries.
Girls dancing solos in competition were rare before the 1920s
Irish dance has surely evolved during the 20th Century. Instruction is beginning at a younger age. Who is instructed has also changed from mostly males to mostly females (the turning point was before 1930). Girls dancing solos in competition were rare before the 1920s. Dance styles have also changed; for example, arms and hands were not always held rigid during solo dances. This feature is now making a comeback.
The world-wide success of Riverdance and more recently Lord of the Dance has placed Irish dance on the international stage. Dancing schools in Ireland today are filled with young pupils keen to imitate and learn the dancing styles which brought Jean Butler and Michael Flatley international acclaim.
Today there are many opportunities to watch and enjoy Irish dancing. It is still a regular part of social functions. Dancing sessions at céilis are usually preceded by a teaching period where beginners are shown the initial steps. During the summer months, céilis are held in many Irish towns. Visitors are always welcome to join in and with on the spot, informal instruction, anyone can quickly master the first steps and soon share the Irish enthusiasm for Irish dance.
Base source: The History of Irish Dance at Ireland’s Eye
Footnotes
1 There are conflicting opinions as to where they came from; many conjectures suggest they were Irishmen who had spent time in France. (Back)
Additional Resources
- Irish Dancing: From My Grandpa to Me by Erin Kennedy