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HIGHLAND FLING

HISTORY The Highland Fling is said to have been inspired by the sight of the stag curvetting in the distance. The raised arms and finger grouping of the dancer represent the antlers of the stag. Another story is that the Highland Fling was originally danced on a shield or targe perhaps accounting for the precise stepping on the spot.

SWORD DANCE

HISTORY The Sword Dance or Ghillie Callum is one of the oldest of our Highland Dances. Tradition has it that Ghillie Callum refers to a Celtic Prince, Malcolm Canmore who was the victor in combat which took place in 1054. Malcolm Canmore is said to have crossed his Sword with that of his opponent symbolizing the Sign of the Cross - then danced in triumph.

SEANN TRIUBHAS

HISTORY This dance is considered to be the classic dance of all the Highland Solos and is said to be the expression of the national grief at the beginning of the kilt following the last battle at Culloden which ended the rebellion in support of Bonnie Prince Charlie. It was decreed that the Trews, the Sassenach garb, must be worn and this ban was not repleaded till 1782, over 40 years later. The name Seann Triubhas (old trews) was chosen in scorn of the Trews and movements such as Flourish and Trouser Shake are said to indicate the desire of the Highlander to kick off the Trews. The lively and buoyant steps of the Quick Time may well portray freedom and delight in the return of the kilt. It is interesting to note the use of the French term Pas de Basque in Seann Triubhas and it is possible that this reflects the influence from Bonnie Charles' association with the French Court.

HIGHLAND REEL

HISTORY It is not known with certainty how the Highland Reel was so named but it is thought that the town of Strathspey could have been its birthplace. It was danced in Jacobite days and as early as the 17th century.

The Figure of Eight is thought to represent the design found in an ancient mound in Orkney, possibly associated with Druid worship. The original lines of this ancient emblem are followed when performing the Figure of Eight in the Highland Reel.

REEL O TULLOCH

HISTORY Reel O Tulloch is one of the oldest Reels, glimpses of it being seen in past centuries and again in the Isle of Uist about 1860 with a quaint description of "Eight Figures with side issues"

One legend says the dance originated at Tulloch, Perthshire, on a wintry Sunday when the congregation while awaiting the Minister stamped, danced and swung with each other.

Mr D G McLennan, a famous exponent in his book "Highland and Traditional Scottish Dances" has a different version in that a snow storm delayed the Minister and to keep warm the people began to swing one another and dance their Reel Steps.

IRISH JIG SINGLE TIME

HISTORY There is little history of Irish Dancing, caused in all probability by the disturbed state of Ireland during and after the Tudor wars together with the ordinances forbidding all things Irish, even the language.

These factors are responsible for the decline in the peaceful arts and for the gaps in both oral and written records. Yet before wars engulfed the country, Irish music and dancing were much admired and had permeated English Life to an extent difficult to appreciate.

The Irish Jig Single Time with the use of the Shillelagh, the threatening movements with clenched fists and other occupational gestures reflects the gay, spontaneous and vigorous style of the village ceilidh's. This also applies to the freer arm movements by girls and boys performing in Single Time.

IRISH JIG DOUBLE TIME

HISTORY There is little history of Irish dancing, caused in all probability by the disturbed state of the country during and after the Tudor wars together with the ordanances forbidding everything Irish including the language. The factors are responsible for the decline in the peaceful arts and for the gap in both oral and written records. Yet before wars engulfed the country, Irish music and dancing were much admired and had permeated English life to an extent difficult to appreciate.

Peadar O'Rafferty tells us that literature connected with Irish Dancing is so meager that present day students and masters are almost dependent on oral tradition for information on the subject and very little is known of the origin or early growth of the art in Ireland. There is no mention in any of the old manuscript books but we are informed that the 16th century witnessed the greatest development of the art and up to 1850 it was the favourite amusement of the people.

In her book " European Dances" Joan Lawson says that Irish dancing is a perfect reflection of the dual nature of the Irish people, there being two distinct styles due possibly to Ireland's historical background which is full of contradictions.

The early 19th century saw a revival of national tradition and gave rise to the founding of many dancing schools such as those of Limerick, Kerry and Cork. The polishing of steps and elaboration of footwork followed. As Miss Lawson points outs, unfortunately the dancing masters were not interested in the people's dances of the remote countryside and in imposing their more polished style on the peasants, many of the occupational gestures were eliminated with the result that the dancing lost much of its spontaneity.

In its syllabuses Of Irish Dancing, the New Zealand Academy has confined its work to the Single and Double (or Broken) Time jigs, the Irish Hornpipe and Irish Reel, but has endeavoured to present the contrasting styles of Irish dancing.

The jigs in Double Time and the Irish Hornpipe are quite different in character. The complication of the steps calls for more technical accomplishment, the body is held erect but passive and the arms move only in relation to natural body movements.

The constant interchange of population between Ireland and Scotland, the characteristics acquired from both nations from regiments during the time of war and visiting Sailors, has led to interchange of tunes and steps.

The Jigs, Hornpipe and reel were introduced to New Zealand by early settlers and members of religious orders from Ireland and have retained their popularity with dancers and spectators alike.

After much study, research for authenticity and consideration for New Zealand requirement, the syllabus was prepared for members of our Academy for teaching and examination requirements.

SAILORS HORNPIPE

HISTORY The Sailors Hornpipe dates back from the Tudor period but became popular when Captain Cook proclaimed the Hornpipe as the typical recreation for the Sailor when the ship is becalmed.

It was left to an actor of the same name to establish and standardize a "set" Hornpipe. T. P Cook, a leading actor of the day was often called upon to play naval parts and in the old dramas the hero often danced a hornpipe to celebrate his return to his native village.

T.P Cook made a special point of visiting ships when they were in port at any of the naval bases where he happened to be performing and many evenings after the show he would join his Jack Tar friends at the local inn. As they indulged in the light fantastic he made notes of their many steps and descriptive movement and thus found that in all sea ports, the hornpipe steps were very much the same.

Having acquired all these steps, he set them in a sensible routine as near the original as possible and presented this complete hornpipe in the next naval drama in which he appeared. This brought the dance into popularity and it has remained in similar form since that time.

The Hornpipe was danced aboard ship for recreational and entertainment purposes to prevent boredom, to claim the nerves before battle and to improve the general health of the sailors. It is interesting to note that it is still taught in one of the Naval schools in England today.