Celebrating traditional Irish music and dance in film!

Film award season has just concluded with the Oscars earlier this week, and happily a number of Irish films won BAFTA awards and also received Oscar nominations, including the very beautiful and gentle The Quiet Girl (An Cailín Cuain as Gaelige), and the absolutely stonking Banshees of Inisherin.

And of course, an Oscar winner! Big congratulations to James Martin who won on the occasion of his 31st birthday for his performance in An Irish Goodbye for best live action short film.

It has started me thinking about all those scenes in films that have entertained us with Irish music and traditional dance.

Mostly those dances have been part of the story: showing how important gathering for music and dances was to the various social and political power plays going on, like in The Field, based on the John B. Keane play.

Also in Jimmy’s Hall, a story about a young Irish man who returned to his rural homeland after 10 years in the US, who creates trouble by re-establishing a community centre for people to meet, talk and dance. This illuminates the divide in political sympathies within the community, including that of the church.

And then there’s the delightful breakout just for the craic – tapping feet, whoops of joy and some simple céilí dancing in Dancing at Lúghnasa . This is the penultimate moment for all the key characters before that gentle country Irish life fell apart and faded away.

There’s a short, sweet music session in The Banshees of Inisherin, led by the key protagonist, Colm Doherty played by Brendan Gleeson, who in real life is an accomplished Irish fiddler. This is a soft and gentle spot in a film that can otherwise be confusing, jarring and very, very funny.

And last, but not least, is the iconic dance scene from The Titanic.  No, this film is not an Irish film but we can claim the dance, the music, if not the ship itself which was built by Harland and Wolff in Belfast. Not sure Jack and Rose would win any dance medals but they sure have the right attitude!

So, what I noticed about all these films is that they are all set in the first half of the 20th century from 1912-1936 or thereabouts. This was an important time  of change for the world, with two world wars, a depression and a lot of social upheaval. In Ireland, there was the Easter Rising of 1916 and the emergence of a new and difficult republic, that created great strain between friends and families.

It was also a dangerous time for our beloved dancing, as there were forces at work to try to rid Ireland of any music and dance events in private homes with the Public Dance Halls Act of 1935.

Happily, the dancing survived all that.  What I would love to see now are some films set in our current day for all the world to see, showcasing the bright, beautiful and very talented musicians and dancers who are  carrying on an amazing legacy.

Blessings of St.Patrick’s Day on you.
Nora Stewart
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The Clare Lancers Set: Tradition and Evolution

FOR MOST OF US set dancers, the idea that the original Lancers set from County Clare was not always danced to reels could seem very strange indeed. The evolution of our beloved dances have an interesting past, as told by Larry Lynch in his extensive and beautiful book, Set Dances of Ireland: Tradition and Evolution (1989).

This trove is based on oral history told by dancers from each area, and is a written  and illustrated record of music, musicians, dances and dance style from counties Cork, Kerry, Kilkenny, Tipperary, Limerick and Clare. Larry Lynch has very kindly agreed to allow me to re-produce the following chapter (Italics text) on The Lancers.

The Set in Local Tradition: Crusheen, Co.Clare: The Lancers
Joe McNamara first saw the Lancers in about 1931. Joe learned the Lancers from John Kinley, who brought the set to the area from South Galway. John Kinley was about twenty years older than Joe.

“Joe Kinley picked it up at a wedding in South Galway. At the time, there were kitchen house dances maybe only three times a year. It was hard to see all the figures. John Kinley was anxious for everyone to dance the Lancers, but no-one knew how to dance it. No-one knew the full set, only himself. There might be only two in the house who knew it, and they weren’t too clear about it either.”

 Joe McNamara recalls, House dances stopped during the war (World War II) because they were illegal. The gardaí would come and close them down. The government wanted the revenue and tax. Priests stopped the house dances but they built parochial halls and got licenses and had their own dances.”

 “Céilithe were started during the late forties and early fifties by Irish language teachers. No sets were allowed because sets were not considered Irish. Sets were danced at an odd get-together in the home – a return from England, or a wedding. Comhaltas (Comhaltas Ceoltóirí Éireann) organised the first Fleadh Cheoil in Athlone in 1953 and started reviving set dancing. The Caledonian Set was danced in the competitions. Because of emigration, there were no crowds to dance, so the generation of the fifties missed out. Modern music and show bands became popular, so today, people between the ages of thirty and fifty can’t dance.”

 “I often saw John Kinley in pubs and he was anxious for the two of us to get the Lancers going. And we would often go through it in the pubs, having an old chat about the sets. He always hinted on me that we should get it going.”

Joe McNamara revived the Lancers in 1980. “ I had to go back in my memory and remember the set as I saw Kinley dancing it, and work out one figure from another until I go the shape of a set. I might see that dancing in my young days, and I might no see that set danced twice in a year. There was that drawback that I had to remember the set after not dancing it for forty years. I usen’t to sleep, and I often went through a figure (while unable to sleep). I was teaching set dancing at Crusheen at the time. I did it one figure at a time. I had to take figure one, do that and see how it worked out. Then onto the next figure. It took a lot of memorizing.”

Joe says about the Lancers “ When Joe Kinley danced it, it was danced to polkas. I revived it to reels because dancers today prefer reels.” According to Joe McNamara, the dancing speed of the music at two beats per measure used to be: polkas 102 beats per minute. Today, the dancing speed of the music at two beats per measure is: reels 123 beats per minute.

Pauline McNamara, Joe’s niece, told me recently that her father, Paddy McNamara, always insisted that the dance be done at a “slow and easy pace”. And polkas at 51 bars per minute, is certainly much slower than now- often around 60-70 bars per minute for polkas.

She also told me that the (Clare) Lancers, as it became, was an instant hit at competitions and social dances because it was a set with five reels – no jig. They won everything, every competition they entered – Paddy McNamara and Biddy McNamara (photo below), Eoin and Mary Donnell, Muriel and Danny Liddy; Catherine Brigdale, Pete Connors and Kevin O’Brien, with Joe McNamara as the manager of the group.

Now, about twenty-five people dance the Lancers in the Crusheen area. Joe and Biddie McNamara have also taught the Lancers every summer since 1983 at the Scoil Samhraidh Willie Clancy, in Miltown Malbay, Co.Clare.

Photo of Biddie and Joe McNamara

Biddie and Joe McNamara © Larry Lynch

We all know that there are now thousands of dancers happily dancing the Clare Lancers all over the world. In addition, Larry Lynch said to me in an email recently:

“Joe and Biddie McNamara were wonderful people and very gracious to me.  Joe and Biddie knew their subject well; they deserve to be recognized and honored for passing on the tradition.  Biddie was one of the most beautiful and graceful female set dancers I encountered in twenty-seven years of research and teaching set dancing in Ireland.”

Music, people and place are absolutely key to any Irish set dance, and Larry Lynch has also recorded some of that information for the Lancers.

Musicians: The Lancers Set
Some of the popular musicians who played the fiddle were: Katie Costello (later played with Michael Coleman in America), Rathclooney; Delia (also played the concertina), Mary and Winnie Littleton, Drumbaniff, Crusheen.

Others who played the concertina were: Mrs. Cunneen, James and John Costello, Rathclooney; James McInerney, Drumbaniff, Crusheen; James McNamara, Drumbaniff, Crusheen.

Those who played the accordion were: Joe McNamara (played with the Tulla Céilí Band 1953 until 1963), Drumbaniff, Crusheen. Patsie Kinley (John Kinley’s father), O’Brien’s Castle, Crusheen, played the flute. Petie Littleton, Drumbaniff, Crusheen, played the tin whistle and the concert flute. (There is also an extensive list of tunes, for anyone interested).

Homes: The Lancers Set
When Joe McNamara was young, set dancing was done at house dances. Some of the homes where sets were danced were: Joe Kinley’s, O’Brien’s Castle, Crusheen; James McNamara’s (Joe’s father), Drumbaniff, Crusheen; Mickie Littleton’s, Drumbaniff, Crusheen; Paddy O’Connor’s, Cappafean, Crusheen.

My great thanks to Larry Lynch for taking the time to record all this amazing information, and agreeing to let me share it here.

Larry sadly passed away in December 2021, and leaves a valuable legacy to all who love Clare sets.

Set Dances of Ireland: Tradition and Evolution (1989) is available for purchase via Amazon.

Enjoy your dancing.
Nora Stewart
Irish Bliss

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From Clare to Canberra: The Jack Canny Story Part 3-The Half Set

This half set began it’s life in Canberra over 3 years ago at the King O’Malleys music session with Libby and Richard Conrick, amongst others. Richard and Libby knew Jack well : in fact, one of their sons is named after him, and Jack Conrick is now a fabulous fiddle and concertina player himself.

Go directly to each figure of this set:

Figure 1: The Clare Cosy

Figure 2: The Bridge

Figure 3: The Canny Chase

Martin and I would often go to the session on Tuesday nights, and occasionally, we would get up and “throw a few shapes”, as they say, just the two of us in a very small dance space, enjoying whatever music they were playing.

Some of the signature moves came from experimenting at the session. But mostly, the influences have come from my years dancing in Ireland, and in Clare, reflecting many of the Clare dance moves we know and love, with a few twists.

martin and Nora O'Malleys

Martin and Nora dancing with Jack Conrick playing concertina in the background at King O’Malleys, Canberra.

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From Clare to Canberra: The Jack Canny Story Part 2-About Jack

Jack Canny would have been just over 3 years of age when the Easter Rising of 1916 took place in Dublin a hundred years ago, miles and worlds away from his home in the small townland of Glendree, two miles West of Feakle, Parish of Tulla in County Clare.

Maghera Mountain 1

Maghera Mountain, close to Jack’s home in Co.Clare, where Jack’s friend fell down a peat hole one foggy night coming home in the dark from dancing.                                     Image: www.ClareBirdWatching.com

The eldest of three sons of Patrick Canny and Catherine MacNamara, Jack was active,  and lively – “happy as a sand boy”, as he recounted, and was a natural sportsman including regular games of hurling, and later, cycling.

And, of course, there was music. His father, Pat Canny, was a noted local whistle and fiddle player “It was their main hobby when their day’s work was done in the farms. We had no radios or televisions at that time. We had to make our own enjoyment and our main enjoyment was music.”

“My Dad played, he was a great inspiration to all of us. He used often take down the fiddle on the long winter evenings and he’d play there for half an hour, just to keep on practising. He used to do that once a week…sometimes once a fortnight.”

Mark Tandy with Jack Canny

Jack Canny and Mark Tandy. Image: M.Tandy

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