I had the pleasure of teaching a sean nós & battering workshop in October with a group of 13 dancers from Sydney, Newcastle, Melbourne and Canberra, on the 10th annual October set dancing weekend here in Canberra. We went through and learned our 3 step sean nós routine to hornpipes (see below), which was nervously but well performed to an expectant crowd the next day.
Not surprisingly though, the highlight was really getting stuck in to the battering steps, particularly the Clare battering step. This is a name that is loosely used for steps that are popularly danced in Clare to reels, and experienced dancers will recognise that very familiar tattoo immediately, as heard below:
I occasionally overhear fascinating conversations – as a bystander, you understand.
And so it was on this occasion when two women were recollecting their experience of set dancing and tut-tutting about other women dancers who dare to dance battering steps.
“In our day, it was never done” they said, with the implicit message was that “it shouldn’t be done”. My face was aflame as I sat there, not sure if this missive was being directed at me or not. I kept quiet.
My initial reaction was to feel a bit indignant. Yes, I’ve been known to batter – quite loudly at times and probably over enthusiastically – but I have always found the sound and subtle rhythms used in sets and sean nós completely addictive, and is how I got really hooked in the first place. I really, really wanted to be able to do THAT.Continue reading →
Sharing Irish dancing with my friends and non-dancers is something I love to do, AND it needs to be very, very easy.
Here, I am featuring three of the 6 different Irish dance styles with videos and instructions that are linked to each dance name so you can follow along.
Irish set dancing figures
Irish two hand dancing
Irish céilí dancing
If you’re really keen and this is your first time getting people dancing, see my next post How to work with your party crowdwho are keen to dance (and have probably had a few drinks)…
The Paris Opera Ballet School celebrated over 300 years of dance tradition in 2013, and I recently saw a lovely documentary focusing on the experience of young dancers starting out and doing an orientation of the company. I was entranced by their passion and commitment, particularly their gentle and considered approach to every aspect of the school and it’s tradition.
Part of that tradition is where all the youngest & newest members of the ballet school participate in the annual défilé– a parade of all ballet school and company members prior to a proper ballet performance. Everyone is on show, and careful attention is paid to all aspects of the défilé slow walk. One young dancer said her teacher told her to imagine that “our heels light up the room.”
I’m quite taken by that idea- every time you lift your heel there’s a bright shining light that illuminates.
However, it’s all very well to do that in a slow, deliberate ballet walk but trying to light up the room at a fast Irish reel pace can be quite a challenge. Here is some information about reels that might help you.
I often see lovely steps on YouTube I’d love to learn – like this one from Mick Mulkerrin:
But for someone like me, this is just a bit too fast to start learning from.
Technology not only allows generous dancers to film and post great steps, but also helps to S-L-O-W it all down – both the images and the sound- like this:
It does sound a bit strange with the slowed down audio- a bit like a horror movie- but don’t mess with this as you’ll need the sound of the feet to help guide you with the rhythm of the steps.
TIP: The key to learning new steps is to break it down into simple parts but ALWAYS do it with the rhythm of the music – even if you just hum the music to yourself rather than having the music playing.
MOST Irish traditional music is very lively, and it really makes you want to tap, hop, skip and generally jump for joy. I share that feeling but those steps are not always in keeping with the traditional flat style of set dancing, particularly in Clare, Kerry, Galway and surrounding areas.
It’s another contrary fact about Irish set dancing that what makes you want to go up, actually asks you to come down.
The style of Irish set dancing is subtle and I have had great difficulty over the years putting my finger on what it is, what it’s not and how best to explain it simply. I have found it most tricky explaining the style to dancers who already dance many other styles because it can seem counter-intuitive to them.
Some basics for set dancing style & steps:
1. Keep your feet close to the floor – some say “dancing from the ankles down”
2. Take small steps
3. Listen to the rhythm of the music to keep time
Often adults talk animatedlyto me about their desire to dance, finishing with a crest-fallen look and “Oh, but I didn’t learn to dance as a child”. Occasionally, I’m not sure if this is an excuse for not dancing or a genuine regret that the potential joy of dance has passed them by. I suspect it’s the latter.
I was lucky enough to grow up in a community where dancing, singing and music-making was a normal, everyday activity. I danced at school, I sang and played my guitar on the school bus with a group of others, I danced at parties and I danced with my friends for fun in the lounge room. We were not doing any particular dance or steps, just moving to the music and enjoying it.
Fast-forward forty years, and what I see that dancing has become objectified: commodified in a way that makes it seem less accessible to people as an ordinary activity, and all about athleticism, show and performance.
The rise of TV dance shows may bring dancing into people’s homes but really not in way that makes people feel they can participate. There are dancers and there are audiences: never the twain shall meet.
Some of the nicest, most pleasurable dance experiences I’ve had in Irish set dancing have been with partners who are… how can I say it? Comfortable. It’s like moving on in the set and arriving at your favourite armchair – aaah, a space that is obliging, giving and freeing, all at the same time with the added pleasure of moving exactly in rhythmic time with another.
Sadly, that’s not always the case. Many will have had the experience of being tackled by a smiling partner who seems to have wandered in off the sporting pitch, is full of energy and enthusiasm that’s just bone crackin’. Or collecting the demure-looking woman who’s leans on you and is like 20lbs spuds to get around the floor.
So, despite being convinced that all dancers are doing their best to dance, enjoy and have a good time, I think sometimes there’s a small lack of technique, knowledge or thought about what kind of experience it might be for the other person. It doesn’t mean completely changing your dance style but simply being mindful of others and making small accommodations to suit.
1. Dancing under your own steam – as much as your partner may be comfortable, their job is not to carry you. Your two legs will do that and all your weight needs to be on them, not your partner. To see if you’re already doing that, challenge yourself.Have a look at the dance practice exercise on the film (below) and see if you can dance at home, and then do a full house with your partner with only your palms touching palms as you dance.
2. Flat resting hands, light touch– Pulling, yanking, poking, gripping hands are most unattractive and are usually evident in the excitement of brilliant music and fast moves – we’ve all done it. Taking care also applies to moves like turning the lady under where all you need to do is use the tips of your fingers to touch, not using your whole hand. People carry all sorts of injuries and pains – arthritis, bruising, sprains – and it pays to take care with all hand holds. Continue reading →
Staying healthy takes more and more of my time, and it seems obvious to try to enhance the benefits of dance by paying attention to a few basics. This is not an exhaustive list: I have already written about some of these tips but ’tis always good to have a reminder.
1. Dance floor– seems an odd kind of thing to put top of the list but flooring is critical to reducing knee, hip and ankle injuries and sore backs, ideally, sprung floor is the best or at least something with some bounce or give in it. You should be able to see the floor moving when someone walks or dances on it. The floor also needs to be very clean- swept first then a very hot, dry-damp squeezed-out mop over the top to get all the grease and dirt off.
