Music • Stories • History • Viewpoint • Dance • Sport • Photos • Midwest Notes • Commerce Trader
| Celebration of Dance by Jessamy Bleth |
|||
 |
||||
| Jessamy Bleth has been in training with the Karl Drake School since 2001. She is a two-time world championship qualifyer and is currently ranked fourth in the southern region. She recently joined the show, The Magic Of Ireland for its US and international tour. She plans to one day earn her TCRG so that she may pass on her love for Irish dance to another generation. |
||||
 |
||||
| Kelsey Cummings and Emily McCusker dancing a hornpipe. Photo provided by J. Bleth |
||||
 |
||||
| Avery Crow performs a high spirited treble reel. Photo provided by J. Bleth |
||||
 |
||||
| Alley Campbell and Mercedes Bleth performing a two-hand reel. Photo provided by J. Bleth |
||||
 |
||||
| Mercedes Bleth in mid-click during a treble jig. Photo provided by J. Bleth |
||||
|
Home•
Dance • Recent Articles • Celebration of Dance by Jessamy Bleth • Starting Young, Going Far Amanda Carpenter & Chelsea Crow • Championship dancer Paul Beardsley |
||||
 |
||||
|
• MidwestIrish.com is a part of Lucky13Studios Design Family. For more information, see JoshuaHeston.com•
|
||||
Irish dancing has been around for hundreds of years. Villagers would perform group dancing in celebration of a wedding, a birth, or a victory in battle. Dance masters would travel around various parts of Ireland teaching his steps in exchange for room and board. Thus, dancing styles varied from region to region.
Today, the modern dancing master is a certified TCRG---he or she has passed the examination to teach traditional Irish dance.
While dance styles vary from school to school, basic technique is the same around the world. Dancers are taught to dance with legs crossed at the knees, feet turned out, and with a rigid posture.
Perhaps the most noticeable characteristic is the carriage, or posture, of the dancer. From the waist up, the dancer should appear to be motionless, with arms held tightly to the sides. There are many theories as to why Irish dancers do not use their arms. One — and probably the more correct — theory is that the [Catholic] Church frowned upon dancing and deemed the arm movements as provocative, so the dancers simply held them to their sides.
Another theory stems from the British occupation of Ireland during the 18th century when many Irish customs were oppressed. If a British official happened to look through a window, he would only see a group of people standing around. Although, I think all the bouncing and hopping would have given them away!
There are two categories of dance: ceili (group) and solo step dancing.
Solo dancers perform and compete in soft shoe and hard shoe dances. Reels, jigs and slip jigs are performed with soft shoes. Treble (or hard) jigs, hornpipes and set dances are performed with hard shoes.
Each dance has its own rhythm that must be mastered by the dancer. Ceili dancing is often referred to as team dancing, because the dancers work together in teams of two, four, and eight. Ceili dancing is always performed in soft shoes.
Dancing competitions have helped to preserve traditional Irish dance. During the late 1920s, there was a decline in the interest of Irish dancing in Ireland.
Fearful that this wonderful tradition would pass away, The Gaelic League established An Coimisiún le Rincí Gaelacha (the Irish dancing commission). The founding of this organization help standardize and organize Irish dancing as we know it today.
The Commission still exists as the governing body of Irish dance. Today, dancers compete in their own age and competition level at a feis (pronounced “fesh”.) The levels are well-defined from Beginner to Open Champion.
Dancers compete in solo rounds and ceili, too and all competitions require live music.
Music is a vital aspect in traditional dancing. It is not uncommon for dancers to also be proficient musicians and at most feiseanna there are music competitions in addition to the dance competitions. Often times, at the end of the competition, there is a social ceili where anyone who plays can join the musicians and anyone who wants to dance can learn some very traditional Irish set dances.
Even the costumes that are worn are works of art and reflect tradition. At one time, girls wore heavy velvet dresses that were hand embroidered with scenes from the Book of Kells. Today, solo costumes are made of lighter fabrics, such as silk. Dresses are often covered in sequins and garnished in Swarovski crystals. School costumes are more subdued and are worn for team dancing.
Boys used to wear kilts, but today most boys opt to wear black pants. Even the curly wigs worn by the girls have a historical background.
During the '20s and '30s, competitions were often held on Sunday after Mass. The girls competed in their Sunday best, and had their hair in curls as current fashion demanded. Since then, curls have been tradition.
The first time I saw Irish dancing I was in the audience of the show, Feet of Flames. My mother suggested that I sign up for lessons, but I thought it would be too difficult — those girls moved fast!
I also thought — at almost 17 — I was much too old to start something like that. But mothers know their children better than their children know themselves, and a week later I found myself at my first Irish dance class. After that first lesson, I knew that I was born to dance the Irish way.
I am now a two-time world qualified champion Irish dancer and I cannot imagine my life without Irish dance.
In days long ago, the people would gather to dance, to enjoy the music, and to have the pleasure of each other’s company. I love that spirit of ancient tradition that still exists today at modern competitions. Dancers and their families come from all over the region, the country, and sometimes, the world, but they are linked by a common bond: a love for the dance.
January 19, 2007