History of Irish Dance
"Irish folk dancing"
From International Folk Dancing, by Margie Lenihan Tiritelli. Written in the 1960's/70's. Format edited for the Web by Ashe.
This article should be taken with the biggest grain of salt you can handle. It is filled with folklore, not fact, though the folklore is still interesting enough to share.
Early History
The Gaelic word "feis" (pronounced "fesh") denoted a custom or form of thanksgiving coming after a plentiful harvest, where the nobility of Ireland, with their ladies, harpers, and bards, would gather at the castle of an Irish king to celebrate and compete in music and dancing. At this particular time, the popular dance was Rinnce Fadha (pronounced "reenka raudha") which was originally an old Irish peasant dance.
Since this dance was a favorite of the reigning King Leoghaire (pronounce it "Leery" "Leary"), who was the ruler when Saint Patrick came, it was frequently performed at court. It was also known as the "long dance," meaning of unusual length. The Rinnce Mor, or Great Dance, is a later version. The Sir Roger de Coverly is a dance that was derived from this long dance, and which eventually became known in America as the Virginia Reel.
Religion’s Role
Religion has played a role in the surviving dances of Ireland. It is said that in the 4th century A.D., when the Celtic settlers coverted to Christianity, the new priests allowed these Celtis to retain some of their pagan elements in tunes and dances by transforming their gods into saints. Saint Patrick was one such example.1
Because history records these priests as of two distinct types - aesthetic and wordly - conflict soon arose over two forms of Catholicism which later caused further confusion when Protestant reformers extended English sovereighty over Ireland in the 16th century. This is why Irish dancing varies. On the one hand, you'll see a light, leaping, gay spontaneity or (on the other hand) perhaps only a very rigid stance where the only movement is that of the feet. Therefore, ancient ritualistic dancing is almost completely lacking in Ireland as a results of this dissension.2
The Invasions
With the Danish invasion of the 9th century came a polishing of some dances that were later to catch the eye of the 16th centuary English invaders. Dancing instructors were engaged to refine these dances so that they would be acceptable at the court of Queen Elizabeth I. Hence, it is said that their efforts were largely responsible for the lack of expression worn by Irish dancers.
The Dances
The traditional dances of Ireland are the reel, jig, hornpipe and, of course, set dances. But it is in the first three mentioned that the difficulty of foot steps is encountered. The reel, of Scottish origin, is a classic dance that is performed smoothly and rapidly, but without any noise. The jig and hornpipe are similar in that both use clogging and shuffling. At some parts in teh dance, the feet tape the floor 75 times in a quarter of a minute. This uniqueness is what sets Irish dancing apart from other ethnic groups, as concentration is primarily centered only on the movement of the legs and the erectness of the body. However, there is a jig that is danced to "Tune of the Occupation" that does involve the use of the hand in a clenched fist.
The [group] set dances are performed by couples and are somewhat similar in motion and music. They consist of hop jigs, slip jigs, single and triple jigs, and are executed in 9/8 meter. [Actually, only the slip jig is in 9/8 meter. And I’m not so sure on the existence of slip jig sets...] The single jig and the slip jig evolved from the double jig, which is the commonest of all Irish dances. There is little doubt that the double jig is the oldest.
Modern Irish
The period 1300-1350 A.D. [contains] the oldest recording of Irish dancing [which] has been set down in English dialect peculiar to that age. William Butler Yeats is said to have based his poem "I Am of Ireland" on this, but it wasn’t until the latter part of the 16th century that the beginning of modern Irish set down the words for dance - "Rinnce" ["rince"] and "Damhsa". It is probable that these words stem from the English "rink" and the French "danse".
In the 17th century we become aware of the withy dance, Rinnce an Ghadaraigh; the warlike dance, Rinnce Treasach; and the long dance [rinnce fadha]. It is not known for sure if the Irish dance conformed to the sword dances as did Scotland and North England (Northumbria). Little is known of the withy and warlike dances, but it is presumed that the rinnce fadha was the best known. This latter dance, as we mentioned ealier, was performed on festive occasions like May Day ceremonies, held out of doors, where the dancers decked themselves with flowers. This dance is said to have entertained the Duke of Ormonde in 1662 and again when James II landed at Kinsale in 1689.
Music Origins
The tunes played for many of these dances have been mixed so thoroughly between the Irish and Scots that it is difficult to determine their origins. Both of these countries have even incorporated certain English regimental characterisitcs during times of war into their tunes.
Costuming and the Feis
The most common costume worn by the colleen dancers, subject to modification, is generally a green dress having an embroidered ancient Celtic design, black stockings, a fichu [a woman’s light triangular scarf that is draped over the shoulders and fastened in front or worn to fill in a low neckline], and cuffs. A cloak or cape-like effect is attached at the shoulder, ending on the opposite side near the waist, held in place by the ancient-designed Tara Brooch.
The written word, no matter how descriptive, can in no way convey the vibrancy of color, execution of gracefulness, or splendiferous pageantry of an Irish feis half as well as the pipers and dancers will as an "old time Irish faire and Hibernian games."
Conclusion
This article appeared previously in the Hibernian Independent and Folk Dance Scene and is used here [book] with permission. Despite her Italian last name (she married into it) Margie Tiitilli is as Irish as the Lakes of Killarney or the sands of Galway Bay - or, at least, as much so as any Irish-American is.
She is not a professional dancer or dance teacher, although her article might suggest this due to its thoroughness. She is a journalist for the Hibernian Independant. Assigned to write an article on Irish dance, inspired by her roots, and fascinated by what she saw and remembered, she did a thorough research job and came up with this result.
Footnotes
1 Here’s where you know to take this whole article with a grain of salt; I’m not sure where the writer is going with this. The first time I read this, I thought they meant Saint Patrick was a saint made from an ancient god. Perhaps, however, they intend for us to understand that Saint Patrick allowed the newly converted to keep some pagan ways. (Back)
2 Unfounded and untrue. The difference in styles are simply a product of an evolving dance form. The lighter, leaping style so prevalent today - known as "the Belfast style" - first appeared in the mid-20th century. (Back)