Z časopisu CÉIM 26. 12. 2020

Stair na Rinnce Gaelacha

Prvních několik čísel časopisu Céim (od čísla 3 do čísla 9 vyjma čísla 8)  obsahuje rozsáhlé články na pokračování, které se věnují historii irského tance. Jejich autorem je Cormac Mac Fhionnlaoich, který byl prvním předsedou  CLRG od roku 1930 do roku 1971 a následující léta do své smrti v roce 1977 byl presidentem CLRG. Jím popsaná historie irského tance je cenná zejména proto, že zažil všechny důležité vývojové etapy irského tance na počátku 20. století a v jeho první polovině, kdy se formovala aktuální podoba organizace An Coimisiun.  V etapě jeho vedení organizace byly formulovány cíle a úkoly nově vzniklé organizace, vznikly všechny zásadní dokumenty, byly stanoveny kvalifikační požadavky na učitele (TCRG) a rozhodčí (ADCRG), byla stanovena soutěžní pravidla, byly popsány tance a zveřejněny postupně ve sbírce Ár Rinncidhe Fóirne  (u nás se zdomácněl název „Sbírka třiceti“) atd.

Autor této části článků se nachází na fotografii jako druhý zleva. Snímek je převzatý z publikace An Coimisiún le Rincí Gaelacha – Its Origins and Evolution  – autor Dr. John Cullinane

Céim No 3

I do not think that there is a reader amongst you that does nor know of Cormach MacFhionnlaoich who is the Chairman of the Commission and has been now for many years. He is a well known adjudicator and fiddle player: he has spent all his life for the cause of Ireland with particular  emphasis on the youth. We are very proud of him for his ideals, his courage, his strenght against opposition – and there is much against national idealism – and his counsel in argument. One of the greatest compliments that I have heard paid to him is that of being a perfect gentleman. One teacher remarked „I always feel a lady when Cormac MacFhionnlaoich is about“.

My dear muinteoiri and moltoiri as I’ve mentioned above, it is the duty of each ane veryone of us to assist „Ceim“ as far as we are able; my contribution will také the form of series of articles, dealing with the „History of Irish Dancing“.

Now, my dear friends, please do not imagine for a moment that I am putting myself forward as an expert, or as an authority on this subject – although my long association with Irish dancing (dating back to 1900) should entitle me to speak with some authority on the „History of Irish Dancing“.

Now after this rather long introduction let us get down to business.

In studying any of the Arts, such as music, painting or dancing one can walk into any Public Library and there he will find countless books dealing with each of these subjects. I fit happens to be folk dancing in which on eis interested, he will find books go leor portraying the history of folk dancing in Greece. In Russia, in Bulgaria and indeed in almost any country in Europe – except one; and that unfortunately is our own dear land, Ireland. Its true, my friends, there is not even one book dealing with the history or evalution of Irish dancing.

Perhaps this may raise doubts in one’s mind regarding the antiquity of Irish dancing; is Irish dancing as old as we believe it to be; or is it of recent origin?

This question of the antiquity of  Irish dancing i sone that has never been satisfactorily answered. We know from the literature of other lands that dancing is a very ancient pastime in practically every country in the world. However, regarding our own literature in Iris hor English – there is not one paragraph, not even one sentence, not even a word in reference to dancing in Ireland. Hence one might conclude that such a thing as dancing was never indulged in, in Ireland: but such a coclusion would be wrong as I shall endeavour to show you.

Now what explanation can be given for the non-mention of dancing in our own literature. I can think of but one and that is that dancing was so general in every part of Ireland that our writers never bothered mentioning it – no more than they would write about the number of meals per day, one consumed. However, reason and common sense tell us there must have been some formo f dancing in Ireland, as there was in other European countries.

Céim No 4

History of Irish Dancing

Last month I wrote about the lack of certainty regarding the antiquity of Irish dancing. I drew your attention, also, to the fact – a most astounding and almost unbelievable fact – that there is no mention, whatever in our literature (in Irish or English) regarding the practise of dancing amongst the Irish people.

Of course you all know that the social life of Irish people, during the greater part of the 700 years of British occupation, is as a closed book to us. After „Briseadh Cionn tSáille“ (Defeat of Kinsale) in the year 1601, harpers, pipers and poets were outlawed. Harps and warpipes were destroyed in thousands. Manuscripts of music and poems were piled upon a bonfire – hence the scarcity of music and poetry composed prior to 1601. Those harpers who escaped capture found refuge in remote parts of the country, while some made their way by devious routes to Scotland and were made welcome by the Chieftains of that celtic country. Of those who found refuge in Scotland, the two most famous were Rory Dall O Cathain of Derry County and Tomas O Conallain of Sligo – of these more anon.

Poets were prohibited by law from mentioning the name of Ireland in their poems, but they got around this, by writing what we call Allegorical Poems – that is they gave to Ireland such beautiful names as „Roisin Dubh; Caitlin ni Uallachain; An Ros Geal Dubh; Cait ni Dhuibhir; agus Sile ni Gadhra.

I mentioned that pipers also were outlawed, but the Irish people were so  fond of music, that they made whistles from corn cobs (the woody centre part of a stalk of corn). They then cut holes in it for the fingers, and it thus became somewhat similar to a tin-whistle. It was named a „Corn-Pipe“. Is not this name very close to „Cornphiopa.“ It was not until around 1700 that the modern Uillean Pipes were invented. This newly invented instrument had a much milder tone than that of the War-Pipes. Thirty years later regulators were added to the chanter, and contributed greatly to its charm; and as the harpers had all gone, the Uillean Piper became the most popular of all musicians. But soft, pleasing, haunting as the pipes may be, the truth is, that they are delightful, or the reverse (!), according to the skill of the hand that rules them. If the piper fully understands his instrument he can produce a hive of honied sounds.

So far I’ve mentioned the prohibition of music and poetry, but I’ve never come across any statute or law prohibiting dancing; but I think we can be reasonably certain that the ruling British authorities would see to the curtailment of dancing, just as they did with music and poetry.

Our own literature being silent regarding the art of dancing, we are found to depend on the writings of Scotsmen and Englishmen for whatever knowledge we possess regarding dancing in Ireland during the period of British occupation. Indeed the very first reference we have is found in 1569 in a „State“ letter written by Sir Henry Sydney – one of Queen Elizabeth’s courtiers in Ireland. In this letter to his Queen, Sir Henry mentions that he had witnessed in Galway, the dancing of an Irish Jig by a number of Irish ladies. He then gave a description of this dance, together with the formation of the dancers in two straight lines; and the description leads one to believe that the dance was the one known to all of us as „The Rinnce Fada,“ a really beautiful, simple dance – one which was very popular when I was a lad, and I hope it will be brought to our Ceilis again.

I did come across two other references to Irish dancing, both by unnamed English Statesmen, around the years 1570 – 1571, neither of whom described the dances, except to say were beautifully and rhythmically danced. Later on we shall quote further references to Irish dancing from the writings of Scotsmen and Englishmen, who were amongst the foremost writers of their day.

Now let us examine the term we all know so well „Jig.“ The derivation of this word „Jig“ as well as the word „Reel“ has never been satisfactorily settled. Most writers of the last century, held the opinion that the term „Jig“ was of Italian origin. Now there was indeed a type of musical measure very popular in Italy during the 18th century, termed „a Giga,“ and most writers affirm that our Irish Jig was derived from this particular type of Italian music, popularised by two great Italian musicians, „Corelli and Geminiani.“ But all the writers and authors seem to have ingnored the fact that tunes, termed „Irish Jig“ had been already published in the several editions of „Playfords Dancing Master,“ and these booklets were published during years 1650 to 1700 – many years before the birth of „Corelli or Geminiani.“

 

Céim No 5

My sincere thanks to all who wrote me in praise of the contents of Cuid a 3 de „Stair na Rinci Gaelacha“. I feel I should reply to each individual, but in these days of dear postage, I’d finf it beyond my slender resources, so please accept, through the medium of Ceim my gratitude for your kind appreciation of my efforts in portraying „The History of Irish Dancing“.

The last instalment ended with my saying that „Long Dances“ were the earliest of our dances. Then came circular or round dances and it was quite a long time after that, before we came across any mnetion of „Solo“ dancing. Now we shall continue from there.

About the year 1680, just short of 300 years ago, an Englishman named Vallencey paid a visit to Ireland. When he returned home, he wrote an account of all he saw and heard, dwelling principally on the social side of his trip around the country. The following is a quotation from his book.
„Wherever I went, I travelled around three of the four Provinces, I found the vulgar Irish were dancing not alone „Long Dances“ but also „Circular“ or Round Dances. These vulgar Irish are no mean dancers and they put much more life into their dancing than do the English dancers“. Now, please don’t blow your tops off as you read this oft repeated word „vulgar“. In those far off days the word „vulgar“ meant the lowly or the less well off people, so there you have it.

Another gentleman who travelled the country from end to end, was a Scotsman named Arthur Young. His object was to study the social life of the Irish people. He was no „Day Tripper“ like some of the other writers of that era. Arthur Young wrote three volumes which he entitled „Travels in Ireland“. Those volumes tell us more about the social life of our ancestor during those dark and difficult days, than any other book on that period. This Scotsman spent three years, not the usual three days, travelling around the country. This was during the years 1776 to 1779, almost 200 years ago! He wrote of the many things he saw and heard, things that are of little matter to us in this „History of Irish Dancing“. Our one and only concern is to find out if he came across Irish Dancing anywhere in his travels and did not disappoint us in any way. He states that he attended my Ceilis in practically every part of Ireland and everywhere he went he saw you people and elderly folk also „dancing“ Long and Circular dances. He was extremely pleased also no note that many of the younger men were very proficient in „Solo“ jigs and „Solo“ reels. This is the very first mention of „Solo“ dancing in Ireland. But note also that he makes no mention of „Solo“ Hornpipe, „Solo“ Slip-jig, or „Solo“ Set Dance. Hence we must coclude that these last mentioned dances were evolved or composed sometime later than 1779. However we shall return to this point shortly.

Let’s discuss further třhis tantalising question of our Circular or Round dances. Now it has been stated, both orally and in print, that our Rinnce Timpeall are not Irish at all, but simply cheap imitations of  old French or English dances, that is, polite imitations of the Lancers and Quadrilles of the late 18th and early 19th centuries. Please note at the beginning of this instalment that I quoted an Englishman, Vallencey, as saying he witnessed Circular dances in Ireland in the year 1680. Now Quadrilles and Lancers came not into vogue until 100 years later. I grant you that there is a slight resemblance between our eight hand dances and the old Quadrilles and Lancers, yet at the same time, there are many more differences than  similarities. For instance, those foreign dance have numerous sections, each of which is danced to music which varies in time structure. They usually begin with a movement in 6/8 or Jig time. The second figure will be a slow ¾ or waltz time, while the 3rd and succeeding movements will be in 2/4 or common time. But all the movements and figures in our eight-hand dances are danced to music in one time, from beginning to end – 6/8 if i tis an eight-hand Jig and 2/4 or 4/4 if the dance is an eight-hand Reel. However, the most important point of al lis, that the fundamental or basic movement in all our round and square dances is that beautiful step known as „An Ceim Cliathanach“ or „Side-Step“ – a step unknown in the dances of any other country; although I have noticed recently on TV that those most graceful Scottish Dancers are now introducing our „Side-Step“ into their „Figure“ dancing.

I suppose it is hardly necessary to mention that most of our Circular and Square dances are composed on a certain definite plan – lead round, an cabhail or body, then 1st figure, which is dance´d by all before repeatin „an cabhail“ or „body“ of the dance. Usually, there are two or three figures, but the „body“ is always repeated after ALL couples have completed the „Figure“. Finally there is the „Conslusion“ which varies in different dances. The Quadrilles and Lancers are not, and never were, composed on this plan. Therefore I think you will agree that our eight-hand dances are not a replica of these foreign eight-hand dances.

There are few who would have the temerity to say that Irish Figure dances are not really beautiful. Indeed I feel quite confident in asserting that our Irish Dances are the most beautiful and most graceful in the entire world of Folk Dances.

Now so far I’ve mentioned
(a) that our Irish Literature makes no reference to dancing in Ireland. All such references are made by Scotsmen or Englishmen.
(b) I told you that „Long“ dance came first, followed by „Round“ dances and later still by „Progressive“ dances.
(c) The first reference to „Solo“ dancing came about 1776 and the only solo dances mentioned were the Jig and the Reel.

Regarding (a), what I had in mind was EDancing as applied to People. However, since writing this portion of „History of Irish Dancing“ I, much to my surprise, came across the words „Ag Rinnce“ agus „Ag Damhsa“, in an old Irish Poem, composed by Sean O Neachtain, about the year 1700. O Neachtain is generally believed to have been born in Roscomain, but he spent most of his life in gCondae na Midhe. One of his finest poem sis entitled „Rachaim Fon gCoill Leat“. I tis rather a long poem, consisting of 18 verses. In the 7th verse he uses the words „Ag Rinnce“. The line runs as follows –
„Cearc dubh na coille sa coileach ag Rinnce“ and again in the 13th verse, he changes the expression to „Ag Damhsa“. The line goes thus –
„Beidh poic ag damhsa gan chandal ar bhantaibh“ In the first case, O Neachtain gives us a word picture of  The Blackbird and the Thrush „Ag Rinnce“, while in the second instance he speaks of The dear ag damhsa to hathasach on the meadow.

From whence did O Neachtain get this image of „ag Rinnce“ agus „ag Damhsa“? Where else, I ask you, but at the ceilis, while watching the young people ag rinnce no ag damhsa – another possible proof that dancing is not a recent innovation. And that still leaves my assertion, that there is no mention in our literature of dancing, substantially true.

Let us now digress a little, and yet continue glimpsing into the past, although a little nearer to present time, to the end of the 18th century and the beginning of the 19th century. There were, in many parts of Ireland at that period, professional teachers of Irish Dancing, known colloquially as „The Itinerant Dancing Masters“, or as  „The Old Dancing Masters“. This body of teachers existed principally in MUnster, Connaught, Mid-Leinster and West Leinster. As far as Ulster is concerned, I know absolutely nothing. I have never come across any factual information as to whether or not Dancing Masters were operating in this Northern Province. Yet, I remember well meeting about half a dozen very fine solo dancers from Donegal and Derry. This was abourt the years 1901 – 1904 and of course, I was then too young and immature to question them as to where or how they had been taugh solo dancing. By the way, the only solo dances they knew were the Double Jig, Reel, Hornpipe. Later on, le congnamh De, I shall enlarge on this topic.

Ithe next instalment I shall continue our story of „The Itinerant Dancing Masters“. Go dti san, slan agus beannacht oraibh uilig.

Céim No 6

Dia’s Muire dhaoibh, a cháirde. Roimh tosú ar Cuid V de Stair na Rincí Gaelacha ba mhaith liom a rá go bhfuilim go bródúil as an méid suime atá curtha sa sraith seo; agus táim deimhnitheach go mbainfidh sibh antaithneamh as an chuid seo.

I ended the last instalment by telling you that a number of Professional Teachers were to be found in various parts of Ireland during the 18th and 19 th centuries. They were known colloquially as „The Itinerant Dancing Masters“, or sometimes as „The Old Dancing Masters“. Now Arthur Young, in his references to dancing in Ireland doesn’t enlighten us very much about the Itinerant Dancing Masters, beyond mentioning the fact that such men existed. But as regards dancing itself he gives us quite a clear picture of the popularity of dancing amongst all classes of our people. He was the first writer to mention Solo Dancinh in Ireland. I dare say that some of you will consider it rather odd and strange that Arthur Young keeps repeating that every where he went he found young men, and many not so young, dancing „Solo Double Jigs and Reels“. You maywell ask what of our other Solo Dances, such as Single Jig, Slip Jig, Hornpipe, and various Set Dances that are known to all of us these days. Nor is there any other reference in any book or periodical of that era to Solo Dances, other than the Jig and Reel. Hence one must conclude, rightly or wrongly, that these dances were the creation of the Old Dancing Masters of the 18th century.

Regarding those Solo Dances, especially the four principal ones, Double Jigs, Single Jig, Reel and Hornpipe, there is an extraordinary large number of steps in each of the above dances; steps which differ, one from the other, in practically every feature except character. Another most interesting point is, that these steps have spread all over the country, with perhaps slight differences here and there.

Now, in the olden days, the general rule in dancing any of these solo dances was, to begin with the simple steps, and then work up, as the dance proceeded to the more difficult and intricate steps. Yet another point to remember is that difficult and intricate steps were dances by men only. Ladies were confined to the simple steps-sidesteps and shuffle and promenade step, and they dances only the Reel and Double Jig. These were essentially ladies‘ dances, and served to display all that beauty of motion and gracefulness of carriage for which our Irish ladies have ever been noted.

And less I forget, I must make mention of the fact, that when I was a boy, three of our Provinces, Ulster, Munster and Connaught, had each its town particular style of steps. Those of Ulster and Connaught were not so elaborate or ornamental as were the Munster steps. Nevertheless, they had singular beauty of their own, and I, for one, am sorry that the old Ulster and Connaught style of steps are so seldom seen nowadays. Seamas Mallon, of Belfast is, I consider, one of the few experts on the Ulster style, and I recall an occasion when I was adjudicating at a Feis in Newcastle, Co. Down, and Seamas had a young lady dancing in the various competitions. She danced traditional Ulster steps only, and I can assure you that her performance was superb.

As fro the traditional Connaught style of dancing, such style was in vogue in most parts of the Province, right up to around1915, when it began being replaced by the more florid, more intricate Munster style of dancing. I well remember, in the early years of An Coimisiun, being deluged with letters from rabid fans of the traditional Connaught style of dancing, lamenting the fact that it was dying out and being replaced by the Munster style. One particular person, who was then living in London, and who was very successful teacher of Irish dancing, I forget his name, appealed to An Coimisiun repeatedly to do something to save the old Connaught style of dancing.

Before dealing further with the Old Dancing Masters, let me diverge a little, back to our Group or Figure dancing, and let me quote for you a few further references to this dancing, as found in the writings of English visitors to Ireland. First, we shall také that very eminent writer, Thackery. He came over on a visit, and having spent a few weeks here, he considered himself well enough informed on the Irish way of life to write a book which he called Thackery’s Irish Sketch Book. This book was published in the year 1843 or 1844.

Anyhow, it was in 1843 that he visited Killarney and there he witnessed a Country Cross Roads dance. He gave great prominence to this one event in his Irish Sketch Book, and in the quotation that follows; and i tis anything but Flattering. Still it serves to show that each and every one of us may have a completely different outlook on the merits or demerits of any particular Group or solo dancer. Even experienced adjudicators have been known to hold different opinions regarding the capability of some well-known exponent of Irish dancing. Well, let us get along with Thackery’s quotation. Here i tis „Anything more lugubrious than the drone of the pipes, or the Jig dances to it, or the countenances of both dancers and musicians, I never saw. Round each set of dancers the people formed a ring. Toes went in, toes went out. Then came mystic figures of hand across and so forth. Indeed I never saw less grace, or seemingly less enjoyment, no, not even in the Quadrilles or Lancers“. There you have it! Please don’t vent your displeasure on me, I didn’t write it.

Now, let us place these rather uncomplementary remarks side by side with the opinions of two other distinguished gentlemen, both of Scottish extraction but domiciled in England. The first was a Rev. Dr. Campbell, who spent four or five months in this country on a holiday visit. That was in the year 1775. This is what he wrote about Irish dancing –
„I was at a dance in Cashel, Co. Tipperary and I must truthfully say that these Irish boys and girls are passionately fond of dancing. They dance most gracefully and beautifully. There is a sweet affability and sparklingh vivacity in the young ladies which is most captivating. We frog-blooded English dance as if the practice is not congenial to us; but here in Ireland they dance as if dancing was the one and only business in life“. Was not this a great deal better than Thackery’s viewpoint?

And now let us see what Dr John Forbes has to say about Irish dancing. This gentleman, a Scot, was physician to the Royal household in England. He visited Ireland in 1853, some eighty years after the Rev. Dr. Campbell. Dr. Forbes was on holiday at  Leenane in Co. Galway. One evening, as he  was preparing to go out for his usual walk, he heard the music of the pipes in front of the inn. Being musically inclined himself he made his way to the door. L’ll quote now – „At the Inn door was a blind old Irish piper doing his best to amuse the company standing around, with some of the melodies of his country, of which he was no mean exponent. After a time he began playing Jigs and Reels and a dance was immediately got up; first by a beautiful young woman, and it was delightful to see them dancing so gracefully on the hard uneven surface. Then my driver, a Galway man, and a most active young fellow, requested a young lady, who was standing around watching the dancing and listening to the music, to dance with him. Nothing loathe, she discarded her coat and the comely pair took the floor. My driver danced zealously and well, but I must give credit to his lady partner, as to mind she acquitted herself incomparably. I tis but speaking the simple truth in regard to the performance of this young woman, to say that it possesses every charm that an elegant and graceful carriage and the most thorough command over all the varied steps and movements of the dance could give it. If she had not been long and strictly drilled in her vocation, she must have been born with all the aptitudes of original genius in this wondrously harmonious art“.

You have now heard the views of Thackery, Dr. Campbell and Dr. Forbes, and one may wonder, why Thackery was so little impressed by our dancing. Well, the answer is this, Thackery had no „ear“ whatever for music. He was tone-deaf, and if one has not an „ear“ and a love for music, he cannost conceive the inexplicable exhileration of heart that their dances communicate to the dancers of Ireland. And here I’d like to mention that if a perfectly normal pupil is making but slow progress at his or her dancing, the reason may be that he or she is tone-deaf, or perhaps partially so.

Let us remember also that during the Penal Times in Ireland, however little general education the people managed to get, they seldom neglected their music, even were it only a corn-cob or a tin whistle; and as music and dancing are dependent one upon the other, i tis only to be expected that our ancestors, so sensitively alive to good music, should naturally excel in dancing.

 

Céim No 7

Go mbeannaí Dia daoibh, a Chairde. Fuaireas cúpla litir faoin sraith seo, ag cur in iúl dom nár dheineas aon tagairt don rud so nó don rud siúd. Bíodh foidhne agaibh, a chairde! Beidh mea g caint faoi na nithe sin atá luaite agaibh ar ball.

In Part V I gave you quotations from several noted authors regarding dancing in Ireland, and I think if would be a good idea to commence this part with another quotation from the pen of an Englishman. It is a long time since I noted this quotation; somehow or other I neglected taking the author’s name. I tis a short note on the Crossroads dancing of bygone days. Here it is:
„After the hours of Sunday Devotions in Ireland, a spirit of gaiety shines upon every hour. The pipes are heard, and every foot is in motion. The cabins are deserted, and families, in order to meet together, and enjoy the luxury of a social chat, even in rain or snow – will walk three or four miles to given spot, The Crossroads, where a piper or fidler played enlivening music for youthful dancers.“
Is not that a lovely quotation? I’m sorry the writer did not také note of the different kinds of dances, as I feel certain he would have given a truthful and sympathetic account of them, and also of the dancers.

Well, what about the Crossroads? Yes, they are still there, but the fun, the merriment, the music and the dancing, alas, are missing, except in a very small area in the Province of Munster.

There is a sad and pitiful tale behind the disapperance of our „Crossroads“ dancing. Some of our Spiritual Rulers held the view that dancing was a frivolous waste of time and energy. Others regarded it as, no more, no less than tolerated childishness. And worse still, the straight-laced and puritanical section of those who were supposed to be our God-given Leaders, condemned the practice of Crossroads dancing as being demoralising. It was this latter attitude which caused such a radical change in the social habits and customs of the Irish people during the latter half of the 19th century. However, I’m sure you will all agree with me when I say that people do more harm with their tongues than with their toes!

And now, let us move along to our Set Dances, and see can we find out something about them. First of all it is necessary to remove the impression some people have that a Set Dance is a Group Dance, or a so-called Country Dance, or something akin to the old foreign Lancers, or a set of Quadrillis.

Even while I am writing this there is an exhibition of „Clare Sets“ on my television set. I watched carefully, and they brought to mind the Quadrilles which I often danced when young and gay. There was then a discussion as to what was a „Set Dance“, and they seemed to be at logerheads as to the correctness of introducing the „Treble“.

Now, this Group dancing or Figure Dancing, miscalled Set dancing is not my idea or yours of what a Set Dance is. We were all brought up in the belief that a Set Dance was a solo dance, but differing from the ordinary jig, reel or hornpipe. These latter dsances are danced to tunes of regular construction – two parts of 8 bars each; whereas the Set dance tune generally has some peculiarity of time, measure or lenght, which requires a special type of dance to fit the tune properly, or to use the vocabulary of the dancer, a Set Dance is composed of a certain number of steps joined together by a Set.

Now, as I have previously stated, the jig, reel or hornpipe have two equal parts of 8 bars each, whereas Set dance tunes generally have two unequal parts. Again, speaking generally the first part of the Set Dance tune usually consists of eight bars, while the second part may have any number of bars from 8 to 30.

Set dances were composed or evolved or developer by the itinerant Dancing Masters of the late 18th and 19th centuries. These roving dancing masters were a very popular and very necessary institution in the social life of the Irish people during the dreadful period of national repression. It can be said, quite truthfully that these olden time Dance Teachers brought a modicum of happiness and joy to the inhabitants in whichever area they operated. Many of these Itinerant Dancing Masters were tradesmen of various kinds – tailors, bakers, gardeners, masons, carpenters and so on, and this, no doubt, accounts for many of the strange names associated with our Irish dance tunes, especially with Reels and Set Dance tunes. For instance, when an apprentice to a trade has completed his five, six or seven years apprenticeship, he called a Journeyman; hence we have THE JOB OF JOURNEYWORK, i.e. the job of work done by a journeyman. Then we have THE FUNNY TAILOR, and RUB THE BAG – something to do with the bakery trade, and so on.

When the first Set Dances had been composed and performed, it seems there was quite an outcry of opposition to them from many parts of Munster. The „cranks“ were adamant in their opposition to these newly-composed dances. They based their opposition on the grounds (1) that these new-fangled dances were not traditional; (2) that the steps and sets were simply variants of existing steps; (3) that these newly-composed dances were quite unnecessary. Yet, there have been cranks in all stages of our history. They are, I am sorry to say, amongst us this very day. I admit, however, that an odd crank has his use in any particular society, because such a one helps to prevent abuses, and he keeps the other members on their best behaviour; so we may conclude that cranks are a mixed blessing in any society.

To revert back to the old Dancing Masters, they overcame the cranks and got away with their newly-composed Set Dances. And why shouldn’t they! No art or craft or science can rest secure on tradition alone. There must be changes now and again if they are to keep abreast of the advancing world. Indeed, I feel very proud that we have dance teachers amongst us today who had the courage and the foresight to follow in the footsteps of the Old Dancing Masters. During the past twenty years or so, quite a number of new Set Dances were composed. Here is a list of some of these: Ri na Sióg, The Piper in the Meadow Straying, Kilkenny Races, The Old Lodge Road, Youghal Harbour, Is the Big Man Within?, Planxty Drury.

The first of our teachers to compose dances to these tunes were Cormac O Caomh of Cork, Breandan de Glin of Derry with Eugene O’Donnell, Ita Cadwell and her sister Cora, the late Evelyn O’Connor, and Anna McCoy of Belfast. Since then many other teachers have composed new settings for these and other Set dances.

The majority of these dance tunes mentioned were played by me on Radio Eireann, and I suggested that if any teacher wished to compose a new Set dance to fit these tunes I had played, I would forward the music. More often than not it was Breandan de Glin who first wrotre me requesting a copy of the music. All of these teachers named above will be recorded honourable mention in the Annals of Irish Dancing during this 20th century! Others who deserve an honoured place in this category are Seán Óg O Ceallaigh, first secretary of the Commission, who was mainly responsible for compilation of Book 1 of Ár Rinncidhe Foirne. Next to join that list would be Nan Quinn of Bessbrooke and the late Mrs Hughes of Newry who discovered and presented those beautiful figure dances The Three Tunes, Trip to the Cottage and The Sweets of May. Last but not least is the name of Tomás Ó Faircheallaigh od Dún Dealgan, but now resident in Áth Cliath, who devoted some of his many talents to the compilation and editing od Books 2 and 3 of Ár Rinncidhe Foirne – a Herculian task – one which would have daunted even the most enthusiastic of our members, which Tomás undertook, of his own volition, and without the slightest thought of any pecuniary gain; and on behalf of all our members I tender Tomás our heartfelt gratitude and thanks. Seán Mac Amhlaoibh of Belfast chose the dances of Book 3, and we owe him our gratitude also.

Now, let us go on from there. Not infrequently the Old Dancing Master had musical qualifications also, and were able to perform on the pipes, fiddle or flute. Quite a number of them composed their own tunes for their newly arranged Set Dances. Other took existing popular airs and fitted a new Set Dance to them; for instance, the following old tunes were taken and used by them – Lá éile Pádraig, An Lon Dubh, Seán O’Duibhir an Ghleanna, and Inion an Phailitínigh was used for the well-known, well-loved Gáirdín na Nóininí. This last-mentioned Set Dance is in Hornpipe time, and the dance itself is so named, because of its carefully chosen steps, which require great accuracy and lightness of foot, to such an extent that the dancer will no even crush under foot a growing daisy.

Possibly the idea for this Set Dance came to the mind of one of the Old Dancing Masters as he leaned over a hedge, or gateway to a field; one of the finest ways I know for wasting a sunny hour is gazing on a field of daisies and buttercups! Well, our Old Dancing Master gated intently at the thousands of white-headed daisies swaying to and fro in the gentle breeze. Next, he imagined himself dancing, light as a fairy, across those dazzling white heads of daisies, so lightly, that not even one would bend or break under his gentle feet, and thus was born a new Set Dance, Gáirdín na Noininí, or The Garden of Daisies.

Our National Dances are the best indication of the spirit and superior character of the Irish people in olden times – customs which were carried on till beyond the middle of the 19th century. An Irish poeto f the early 19th century penned the following verses. His name was F. Ambrose Butler.

The summer sun is laughing down,
And o’er the heather glancing –
We’ll haste away e’er close of day
To joint he peasants dancing
Beneath the ivy-clothed trees
That guard the farmer’s dwelling;
And softly shake their leafy bells
White music’s strains are swelling –
We’ll haste away, we’ll haste away,
Along the scented heather;
We’ll joint he merry peasant band
And „trip the sod“ together.

From silent glen, from mossy moor,
From cabin lone and dreary,
They come – the friezed and hooded band
With spirits never weary,
With hearts so light that sorrow’s ne’er
Can break their sense of pleasure –
The Irish heart that  laughs at care
Is blessed with brightest treasure.
We’ll haste away, we’ll haste away
Along the scented heather;
We’ll joint he merry peasant band
And „trip the sod“ together.

The poet continues his decription of the joking and laughter, wild and free, ringing through the vale; the lithesome limbs keeping measured time to the strains of the pipes. Then he concludes with the wish, the hope, the desire that

As long as music’s thrilling strains
Can wake a sweet emotion.
We’ll save the customs of our sites,
At home and o’er the ocean.

I’ve mentioned already that the Old Dancing Masters were necessary members of the community; indeed in those sad times, the ordinary people in any particular area were as proud of  a good reliable Dancing Master as they were of a good Hedge-school Master, and there were occasions when one, and sometimes both were actually kidnapped by residents of some neighbouring village. Members of a Parish were wont to boast if they were fortunate enough to have a worthy dependable Hedge-school Master; but to have also the services of a good Dancing Master was regarded as a triumph for the Parish.

The teaching od Irish dancing – both Step and Figure dancing, was regarded as a Profession, and those who devoted themselves to this occupation, used adopt a quaint and distinctive dress, as an indication to all that  they were members of an honoured profession. Each wore a Caroline hat – its age did not matter, a long tail coat, knee breeches, long stockings of the finest texture, and a good pair of lightly-soled shoes. But his chief pride was hist staff – his wand of office, as it were – a short ornamental stick or baton, made of ebony or some such expensive wood. It was surmounted by a massive head of silver from which hung a silken tassel, and no matter where he went, even to Mass on Sundays, he always carried and swung his wand of office.

Possibly the idea of the stage Irishman with his shillelagh came from the Old Dancing Master’s baton or stick!
Bhail, déanfaidh sé sin an babhta seo, ach beidh tuilleadh le scríobh agam sara fada. Beannacht Dé oraibh uilig.

Céim No 9

Bail ó Dhia oraibh, a chairde dílse. Seo arís mé agus tuilleadh eolais agam  faoi na Sean Mháistrí Rince Gaelacha, agu stá súil agam go dtaitneoidh sé libh.

The last instalment ended with a description of the old Dancing Master’s characteristic dress, which placed him, in a social sense, far above the piper or other musician. Now,  let me once again say that this profession of Dancing Master is not of great antikvity; but we do know for certain that it flourished most extensively from the end of the eighteenth century, and reached the zenith of its power and glory in the first half of the nineteenth century.

Now, let me quote for you a lovely little piece on „The Dancing Master“, written by Carleton about 1835
„Like most persons of his profession, the Dancing Master was generally a batchelor, having no fixed residence, but travelled from house to house, within a radius of 20 miles. The farmers were his Patrons, and his visits to their houses always brought a holiday spirit along with them. When he came, there was sure to be a dance in the evening after the day’s work was done. The Dancing Master himself usually supplied zhe music. Few there were who could not play the flute or fiddle ort he tin whistle passably well. In return for this, the boys would fix a little underhand collection for him – about half a crown or so, which someone, under the pretext of taking the snuff box out of the Master’s pocket to get a pinch of snuff, would, delicately and discretely, slip the half crown into it. The Dance Master, not to be outdone in kindness, would ask them to lay down a door, or a wooden platform, on which he would usually dance one of his own „Set Dances“ to the music of his own fiddle or flute.“

Here are a few names of Old Dancing Masters which I picked up in various places. Taidhgín Rua Ó Scanláin of Glin, Co.Limerick. Tadhg was reckoned to be finest teacher amongst the Munster group of Dancing Masters, although he was not considered a top-notch solo dancer. Tadhg lived in a neat little cabin, bestowed on him, free of rent, by his Patron, The Knight of Glynn.

Another of these old Dancing Masters who practiced about the same time as Tadhg Ó Scanláin, was Tomás Ó Céirín, a Kerryman. He was reputed to bet he supreme solo dancer in Munster, and he had also a good reputation as a teacher.

I have been able to record the names of but a few of the remaining Dancing Masters, and here they are –
Séamas de Róiste, County Cork; Séamas Ó Scanláin, Kerry; Ben Ó Sithigh, Cork County; Padraig Mac an Rí, Limerick County; Padraig D. Ó Riada, Castleisland, Co. Kerry, who, when an old man taught for a few years in London, under auspices of Conradh na Gaeilge, 1899-1903. He was formerly a pupil of Tomás Ó Céirín. It was Padraig Ó Riada who supplied most of the materiál in „The Handbook of Irish Dancing“, published in 1912 by O’Keefe and O’Brien. Then there were at least three in Tir Conaill. The greatest of these, and the one reputed to bet he closest rival to the Munstermen, was Séamas Mac a‘ Bhaird of Tory Island. The other two were Aodh Ó Dubhtaigh from The Glanties, and Séamas Beag Ó Gilín from Ballybofey.

Since writing the above I have come across the names of the following Dancing Masters, both of whom belonged to the Munster Group – fear darbh ainm Ó Loinsigh of Limerick, who taught principally in County Kerry; and Tomás (or Padraig) Aithigheirn who taught in the area from Middleton to Fermoy.

Where Cork, Kerry and Limerick meet, seems to have been the home of many of the old Dancing Masters, but, of course, there were others of the fraternity in various parts of Ireland. There was one in partcular who was domiciled in Longford – James Anthony Cox. This individual tried to impress everyone with his learning and education, and he was notoriously pedantic in his language. Hius request for the use of a barn for one of his dances was generally worded as follows –
„My name is Cox, from the Rocks of Clooncarn, and will you please be so kind and condescending as to let me have the use of your barn.“

Her eis a story that shows Cox at his best: A certain nobleman out hunting one day came across Mr Cox and asked him if he had noticed a hare crossing his path. Mr Cox replied as follows: „Yes, your Lordship, I observed a diminutive quadruped hastily descend the adjacent precipitous declivity“. His Lordship was practically stunned by this oratorical answer to his question, but when he had sufficiently recovered, naturally enough he asked, „Who are you, young man?“ „First, your Lordship,“ replied Cox, with cool assurance, „I’am an artificial rhythmical walker; secondly, I’m an instructor of youth in the Terpsichorean art; thirdly „You’re the devil,“ interposed his Lordship, „and fourthly“, continued Mr Cox, unabashed, „You’re my brother.“

Well, all‘s well that ends well! His Lordship took the banter in good part, and presented Mr Cox with a golden Guinea. When I read this I thought within myself, „Thank God we haven’t any teachers at present akin to James Anthony Cox!“

Now, perhaps, we can return to our „Set Dances“. I’ve already told you that some of the Set dances were named after trades or occupations. We jhave also a number that are very aptly named, having beautiful quaint, old-fashioned names such as Ace and Deuce of Pipering, An Súisín Ban, An Bata Droighin, Pléaracha na Banndan, The Three Sea-Captains, Jockey to the Fair and so on. In this dance Jockey to the Fair the dfancer must convey to his audience the rollicking pit-a-pat of the galloping horse, together with that buoyancy which the mind associates with the care-free rider, as he makes his way towards the fair. This dance is delightfully and aptly named, and i tis the business of the dancer to portray this little touch of rollicking ease. I tis in 6/8 time but markedly slower and more deliberate than the ordinary Double Jig.

The Three Sea-Captains is entirely different. In this dance the dancer must convey to his audience the hurly-burly aboard a lugger as the crew prepare for departure – the rattling of chains, the closing of hatches, the movement of many feet moving across the deck, and so on. The music accompanying this dance is in Common Time, not 6/8, and the tune, in my opinion, is not really an Iris hone. It was probably a Dutch air, and more than likely whistled or lilted or sung by Dutch sailors, who used to frequent many of the harbours of County Cork on the olden days. However, the tune is long enough in this country to have become acclimatised, and we can surely now claim it as our own.

Many or your present day dancers have lost sight of the fact that each and every one of our Set Dances has a story to tell. In a way they are similar to the ordinary ballet, which is a dance evolved around some story or event.; and her eis where our dance teachers can help in raising the standard of Set dancing today, by taking a leaf out of the ballet dancer’s book; that is, that everything taught should have a meaning – every movement in a dance should be connected with what follows as well as with what went before. That, briefly, is the work that should be done by every teacher. You may not know the stories connected with the various Set dances. Well, také it from me that any made-up story of your own will be suitable, provided it tallies with the name, the steps, and the spirit of the dance. And dear knows, our present day teachers are not lacking in imagination. Just look at the scores of magnificent, well-thought-out dances composed by you teachers as exhibition dances and performed so creditably and so artistically at Oireachtas Rince na HÉireann, and at Oireachtas na Cruinne. And what has been done before can surely be done again! So let me once again appeal to you teachers to erercise your imagination in connection with our Set dances.

So far we have had examples of Trade names, and I also mentioned quaint names for Set dances. There i salso a third section namely those having historical titles such as Madame Bonaparte, Bonaparte’s Retreat, Rodney’s Glory, The Downfall of Paris, and so on. These dances were evolved or composed or arranged while the memory of these events were much discussed subjects around the turf fires in Munster. These names give us a good idea of the period of their composition. The Downfall of Paris and Bonaparte’s Retreat are fine martial dances, and this spirit is conveyed, not alone through the music itself, but also by every movement of the dancer.

And now, alas! We are almost at the end of this paper on Stair na Rincí Gaelacha. I have tried to make it as interesting as possible, and if I have failed to stimulate your interest in this most entracing subject, please do not be too harsh in your criticism, as i tis a most difficult subject to tackle – one that requires a tremendous amount of research, as well as the great gift of patience.

Perhaps some day, some person more capable than I, will arise, who will be able to unravel the many mysterious silences and omissions in our literature in regard to Irish dancing.

Bheul, a chairde, „Ní bhíonn ar aon rud ach seal“, agu stá deireadh tagaithe do straith seo. Tá súil agam gur thaithin sé libh-se chomh maith is a thaithin sé liomsa á scríobh.

Slán agus beannacht oraibg go léir!

CORMAC MAC FHIONNLAOICH

Václav Bernard