H AND B O O 'S O F E U R O P EAN NATI O NAL D AN CE S

EDITED BY

'I O LET ALFORD

D ANCES OF S CO TL AND

DANCES of S COTLAND

EA MILLIGA J N c . N and

G M CL A D . . A ENN N

PUB L ISH ED UNDER TH E AUS PI CES OF THE ROYAL ACADEMY OF DAN CING

AND THE

LI N G PHYSI CAL EDUCATI O N ASS OCIATI ON

EWYO ' N R

C HANT I C L EER PR ES S “ F IRST P U BL IS H E D IN 1 9 5 1 BY C H AN 'I I C L E E R P R E SS I N C 1 T H NE WY ' 4 EAST 5 O STR E E T OR 2 2

I L L U STRATE D BY ~ WL D E D N A B R O A . AR ASSISTAN T E D ITOR Y'O NNE M O YS E

- SET I N 1 0 ON I I P OI NT MO NOTYPE , BAS'ER'ILL E P RI NTE D B Y THE AB ERDEEN U NI'E RSI TY PRESS AB ERDEEN SCOTLAN D PL ATES I N F OUR - COL OR O FFSET - PHOTOL I THOG RAPHY C ON TEN TS

I NTRODUCTIO N Page 7

Old Dances of th e Isle s

Highla nd Dances

S tra thsp eys and Re e ls

‘ O ther Coun try Dances

A Royal 'isit

M usic

' Costume

We re Dan in M a Be S e n h c g y e

THE DANCES

Poise ofBod Arm Posi ions and o ds y, t H l

Basic S te p s

Dance Form a tions

S trathsp ey and Re e l

’ Miss Falconer s Fancy

Th e Highland Fling

S cann Triubhas

BIBLIO GRAPHY

Illus ra ions in Colour a es 2 1 2 t t , p g , , S COTLAND

A e rdeen Aboyne b

Bra emar Q

ATHOLL Tulloch

O ban Pe rth

Firth of Forth

wa v n Ne h e Edinb as ow Gl g I N TROD UC TI ON

S wh f wdance 2 an contrary to the general belief his n tive kalth does not o g exclusive ly to the t a m bel n m historl cal f . No o Highlands solid' evidence informs us early f bufin Cofirt and Ca ma F dances , stle we take it that rench i ” y hio ms e an t lOn e h e fas ns made the lves felt, d_ hat g b fore t time ource s ofvivid information are uisin a nd u g g ' dancing th ndered ‘ eformers who knew ne ither human

“ k QSQ ortio l At P WE - g i g gp g erth in I 577 ‘ ’ men confest to be of Corpus Christi players and were ‘ ’ ' sikthin is Ye t m ade to promise never to mell with g again . Edinburgh M unicipality ventured to organise a Sword

- a Hi hland for An D 0 dance and g dance ne of enmark in I 59 , ‘ and twenty - Six years later the y paid for the Hobbyh orfs ’ ‘ and B n fo tacke ttes boy fra erwick , and agai r to the hobbie ; At E 1 6 2 e es e ci hogs lgin , in 3 , wher the people seemed p in u ally obstinate their love of old ways , g isers were Sword dance ‘ in the 'irk

elonge d t rds of its per ’ formance from 1 6 1 7 (the Glovers records onl y begin in the most notable being that before Charles I in I T th e u S 63 3 . hat it belonged to ornate type of G ild word

All h e a ov e re e rence s a re from A M i M ed eval Pla s t f . . i in b J ll , y Sco land Edin ur 1 2 . t , b gh , 9 7 S D ances En l nd an es i s e e o a d Wal n is erie s . T f g th ‘ ’ u / a estie s dance the well known acco nt confirms . His l\I j C Ta hair being set upon the wall next the y, whereupon was a flat stage of timber, clad about with birks , upon the ’ M a estie s which , for his j welcome and entry, thirteen of bre th ere n G our of this our calling of lovers , with green caps , strings , red ribbons , white shoes , with bells about their legs , Sh erin - abulze m e nt g rapers in their hands , and all other , danced our sword dance with many different knots and alla falla essa u j , five being under and five pon their shoulders, t three of them dancing through their fee , drink of wine, G od and breaking glasses about them, which ( be praised) was acted without hurt or skaith to any . C S i ountry word dances would nterest us more , but none u cOme P S remain alive ntil we to far apa tour, the little

- - P . I w S T s S hetland isle his a true Hilt and oint ord dance , and the dancers have somehow acquired the name of the

Seven Champions of Christendom from the much- travelled D S t . G eorge and the ragon stories of Richard j ohnson, an E T lizabethan hack writer . heir lines are not however those ’ u us M u P which , from the same so rce , gave the mmers lay .

” OL D D ANCES OF THE ISL ES is

No historical records tell us of dances in the Highlands , he but memory still holds them . T following description of the almost forgotten Cailleach an Dudain (Carlin of the l T M il Dust) came to me some time Since . here was some thing mysterious about it; news of its performance ,

u fire lit - of- - whispered abo t , led to some out the way house . During general dancing a qu arrel sprang up and a man ‘ ’

l . L was eft dead , covered by a white cloth aments arose, the local wise woman suddenly appeared , to walk round and round the body muttering an incantation; she then began a dignified dance , withdrawing the cloth and always gaz ‘ ’ S he u in . his g on the dead face to ched his hand , his foot,

S a cal Accoun o S co land ol ' 1 is i v . 8 . t t t t f t , , 45 8 Sh . e arm, his leg , and all in turn began to Shake bent to u u u to ch his forehead , and p j mped the dead man to dance — — again while so great had been the tension the wise ut woman was frequently carried o in a faint . Alexander Carmichael'describes it somewhat differently ‘ man u the holding a magic wand , act ally then called druidic ’ ‘ ’ B wand , the woman lying dead . oth these descriptions C came from Uist . armichael tells us too of dances called

C C B - C ombat of the ocks , Reeling of the lack cocks , ontest The — of the Warriors . Sword dance meaning the Gillie C — allum type had eight sections instead of four, the Reel T u S o . of ulloch eight fig res . our inheritance dwindles away T S here are , however, a number of tep dances in the al S U in Islands , especi ly in outh ist , which are of great he L tere st and are still danced . T Hebridean Weaving ilt

h as u u . j st been recapt red, and others await collection

a r' ? HIGHLAND DANCES g

T - all our hese , the best known (especially abroad) of dances , u ur nl T are often pres med to be O o y ones . hey are seen S ’ wherever there are cots in the world . In their birthplace they have never died, owing perhaps to the fact that many C C u Highlanders belong to the Roman atholic h rch which , r t n the er more gene ous ha new reform s , never attempted to deprive the people of their natural arts and amusements . T ‘ ’ hese Step dances , coming to the cities , got into the

n - hands of lo g ago dancing masters who polished and sty_l ised till the country and mountain style had completely ’ ‘ n T ais n tre s va ished . heir r o d e today seem to be exhibition ; and owing to the rigorous training required for competi tion and exhibition they have become so standardised that from Tweed to Cape Wrath dancers will give identical per

formances . T I say weed advisedly, for they now belong to B Highlands and Lowlands alike . est known amongst them

vol 1 Carmina Gadelica, . . 9 . i The G C . n is the solo Sword dance, llie allum da cer crosses h s is sword and scabbard, or two sword , on the ground and

performs steps over them and in the angles formed by them .

Two S _ f other word dances there are, un ortunately seldom L A ll B seen ; these, the ochaber and the rgy roadswords , are T for four men . hey begin with swaggering movements , the ’ swords raised horizontally above the dancers heads , but

afterwards laid on the ground, and the stepping over them u begins as in Gillie Callum . J st now only the S cottish ‘ ’ - S regiments favour these four handed word dances , but they

Th e - - - may come back into fashion . over the crossed swords

typ e seems to have no relationship to the Hilt - and - Point P P S N En dance as seen at erth , apa tour and in orthern g 0 in F T Ye t 1 8 . wo land . about 7 ife a link appears swords h were placed on the ground, two men danced over t em, si' others ringing them in with swords pointed at them . oIntIn When all , changing places , had danced inside the p g S swords , the swords on the ground were snatched up . even u formed a ring ro nd the eighth man, their swords pointing ' ' - at his throat . Here appears the ictim of the Hilt and

Point type . l im If this Sing e relic be accepted , it shows at least one

portant step on the road from ritual to exhibition . Another warriors ’ dance is the famous Highland Fling ‘ ’ supposed to have been stepped upon a targe , the round

- u B u metal or hide covered shield of the mo ntain man . eca se it must be accurately done on so small a spot the intricate f stepping is supremely di ficult . S e ann Triubhas (The O ld Trews) is a dance with a his ’

. i tory . It is a man s miming solo dance Its name was g ven in derision of the trews thrust perforce upon the Highlanders P C 1 when, after the rising in support of rince harlie in 745 , l the kilt , the bagpipes and much e se of Highland tradition The were forbidden . trews in the eighteenth century were worn by chiefs and might have been cons idered an honour

Dou as 'enned Pro S co An hro ol and Fol lore o c. . . k S c. gl y, t t p I 0 s able article of dress , but the clan men despised them and various flicks of the fingers and quick turns of the wrists ni indicate derision and abhorrence of the tight , confi ng

things and longing for the freedom of the kilt . Ye t th e dance itself must have been a favourite and the teaching of 1 80 it went on; in 5 , for example , we see a little girl dressed out in yellow shoes performing it in an Edinburgh drawing A C room . lexander armichael mentions it , some time pre vious 1 860 U to , as being danced on ist and containi ng much more acting than now .

”3 S TRATH SPE YS AND REEL S g“

These eminently S cottish forms of the old Hey or Figure E L of ight are now seen in Islands , Highlands and owlands i al ke and have become part of every ballroom programme . us nl How the first became th called we do not certai y know, S S but trath pey may perhaps have been its birthplace . It

. i . ow s n done in a gliding manner to a moderate , smooth rhythm after which the lively Reel tempo and Reel steps — come as an exciting change for a Reel always follows a

S trathspey . — How the ballet step called Pas de Basque which inciden tally is an authentic Basque step used in the M arche des — M as querades by traditional Basque dancers found a el “ S in place in the Re , as in most cottish dancing , is an tri ui Th e : u F g ng question . answer seems to be thro gh rench l e . so n u dancing mast rs If , it could o y have been —thro gh its ballet connection, andwthat not before the mid eighteenth h as . i century What , t en, the Reel step previous to its n troduction? IS there perhaps a truly traditional Reel step u ? F still to be fo nd in unsophisticated places rench dances , u e our fashionable in ballrooms , infl enc d native dances as u they did in nearly every E ropean country . We read of an A M d 1 lman oreis , and as early as the great ays of 745 we ‘ find Prince Charles Edward Stuart asking for a Strathspey

I I

’ — M inuet anything more incongruous than this coupling Of C u C F o ntry and ourt can hardly be imagined . ashion able London dancing masters too laid down that only those fully trained in the graces of the M inuet could competently perform a Country dance ; and a century later we se e the thin ha e nin B u D ' same g pp g, the order Co ntry ance alse , h ' for instance, introducing the fashionable alse step into C u ountry dance fig res . Thep opular Eightsome Reel Should perhaps come under as the next heading ; but to follow an attempted cl sification, having looked at Four- handed Reels and learni ng that

T - hree handed Reels were an older form, we now examine E T the ightsome . his is not more than some eighty years Old w and as evolved for a ball at the Atholl Gathering o while the c mpany was trying to resuscitate a Round Reel , us already forgotten . What they did was to give an exciting combination of figure dance and Reel .

The oldest Red is probably the Reel of Tulloch . We u get glimpses of this from past cent ries , once again from the ‘ U 1 860 u i Isle of ist about , when it had eight fig res w th Side ’ issues . It may be danced at balls by ladies and gentlemen, but when sp rung into by four men and the hooch rings out

e - a- as their kilts swirl, their arms strongly link d and , vis vis , T they cut and leap , the Reel of ulloch might then enter into the category of Highland S tep dances . An amusing picture of Reels in an Edinburgh ballroom in the early eighteenth century is given by a Captain T ‘ E . opham , an nglish visitor to our capital When the com ’ ‘ pany tired of conversation , he writes , they began to dance The reels . perseverance which the ladies discover in these reels is not less surprising than their attachment to them . They will sit totally unmoved at the most sprightly airs of

. a n E C but nglish ountry dance , the moment one of these is li uid u u tunes is played, which q la dan m to my Spirits , up _ they start and you would imagine they had been

’ Sco ish Coun Dance Socie s Bulle in M arch 1 6 . tt try ty t , 93 I 3 u bit by a tara nt la . Here I have seen four gentlemen perform one of these reels seemingly with the same pleasure as they would have done had they had the most sprightly girl for a partner and they give you the idea that they could with equal glee cast off round a joint stool or se t to ’ a cupboard .

8 TH R U TRY A f ” ? O E C O N D NCES i?

Strathspeys and Reels are accepted as Country dances when — ' i ' uSe d ll in the ba room, but there is another category, figure dances in longways and other forms , more correctly termed Th ’ ‘ C . e théTvh ole ountry dances longways type , common to of B L the ritish Isles , belongs to our owlands and Highlands nf i alike . We have a little i ormat on about these figure dances Com la nt o Scotland 1 from the p y f , 549 , which is concerned ‘ with Lowland dances enjoyed by shepherds who Quhen this da nsing vas dune tha de p artit to cal there sc h e ip to sche i cottis The ther p , thai bleu up there bagpipes Shepherds danced in a ring; every old shepherd le d his wife by the hand , and every young Shepherd led her whom he ‘ ’ ’ T lufie t . d best hey danced to a drone bagpipe, a fi dle and ‘ ’ uhissil d ane q , and the names of their ances , some of which C Al crist n mennis probably were ountry dances , were y

The N S Huntisu 3. T E dance, orth of cotland, p ( udor nglish B u A air which had crossed the order) , Robene H de, the lman Haye (interesting in view of the modern figure called Al man E A and an early reference to the uropean llemande dance) , he S e de T u l T he F . p y , lail and other intrig ing tit es O n both Sides of the Border the Country dance grew in “ f C u l avour, went to the great houses and to o rt, iving on all doubt / athe rin the time in the countryside and , no g g g F the f elegance from rench and Court fashions . In ei fly nineteenth century we see Reels and Country dances at

T is se ms m rn assifi An older en era ion did not h e a ode cl c ation . g t

i m e Edi r. thus nclude the . Th to ten, in the country side debased by the itinerant teacher who went to village s

- A on a motor cycle and Spread merican jazz .

t' A Ro rAL 'I SI T g

The proposed visit of George I'to Edinburgh was not at ot first acclaimed . N since Charles II had visited the city in 1 650 had a reigning ~ monarch se t foot therein ; the House of

Hanover was disliked , and the city received the news with ir mixed feelings . S Walter S cott valiantly undertook the organisation of the 'ing ’ s reception and decided to make S it as cottish as possible . Highland chiefs brought kilted ‘ E u clansmen, pipers were engaged, dinb rgh went tartan ’ a mad . Highl nd dress and bagpipes had been tentatively o E u rising from their banishment . N wevery dinb rgh e u The ' g ntleman prod ced a kilt . ing threw himself into th e Le spirit of the reception and , landing at ith with a ’ A u thistle in his dmiral s hat , anno nced that he too would e To w ar the kilt at his levee . the remark that trews would so u L S u be more seemly on sto t a king , ady alto n retorted ‘ that Since his stay was so short the more we see of him the ’

- ; better . When the great appearance was made , flesh col oure d tights could be descried below the kilt ; but General S G u tewart of arth , who s pervised the robing, was pleased I 5 ‘ to see in the result a verra pretty From that mo S u ment cottish customs and traditions , incl ding tartans ,

- games , dancing and pipe playing , came into their own again .

A t' 3 M USIC g

Gaelic songs and music differ from those of the Lowlands — — in rhythm owing to the language in the use ofthe ancient gapped scales , and above all in an archaic emotional con T l tent . hey are now the detritus of an older society, a ready half forgotten when Alexander Carmichael wrote down the — u M words alas , not the m sic . uch work has been and is being done in the collection of what remains of this strange , antique treasure . Lowland songs in the S cottish dialect of the English lan u ff u g age su ered a calamity when , after the famo s visit of S G I' . P eorge , everything cottish became the fashion oet ical ladies wrote verses in ‘ National ’ style— but in this they B ns— u only copied Robert ur to old or new t nes , and these were so well received that they have actually taken the A i place of traditional folk songs . few lovely trad tional L i owland songs are now being collected, and someth ng of s can T F . the discarded traditional word be found in . ’ r t r re Henderson s Scottish 'e nacular Li e atu . The l C smal eltic harp , the clarsach , is now being revived se e se t and charming it is to , on its stool , and charming to G hear , though faint in tone , when accompanying a aelic

s u . song . Clarsach en embles are ntraditional u Dance music is sometimes provided by the h man voice . Puirt a beul or mouth music must enunciate words , so for

is . dancing it gay, but breathless u Bagpipes belong to the whole of Scotland . In the so th N the small pipes , akin to those of orthumbria , were used Th e but the great pipes superseded them . great pipes pro

M uch of this descri ion is from ane Adam Smi Radio Times p t J t th , , une th 1 J 2 5 , 93 7 . 1 6

In _ the remote countryside the Showrtgown and petticoat , which was the dress of the country oman until recently, may still be seen as Shown in Plate The Newhaven (on the Firth of Forth) fishwife in her traditional costume still sells fish from the creel on her back She as did her ancestress centuries ago . possesses a gala costume as well as her working dress (Plate The C i tartan trews , once the prerogative of the h eftain L in or aird , are hardly seen today except the uniform of

certain S cottish regiments .

C ASIO S WHE DA I G MA BE E O C N N NC N Y S EN

Highland games or gatherings are held all over . S cotland The . B ar D . in the summer best known are at raem , unoon A C G O . ( owal ames) , ban , boyne and Inverness T i C Highland sports , such as oss ng the aber, are to be i s seen at the gatherings , as well as bagpipe competit on , and ns many classes of dancing competitio . m a i Dancing y also be seen at pipe band meet ngs . Dates must be ascertained locally . For many years past , girls have flooded the dance com ’ m ’ petitions , performing men s dances in a travesty of en s T i f dress . here is now , however, a grow ng eeling against S h this , and although a large section of cots accept w at is a degradation of a fine male tradition, there are signs of an At B A i k . awa ening the raemar and boyne gather ngs girls , though still permitted to compete , must appear in a white blouse and tartan Skirt . The S C u D S T C cottish o ntry ance ociety, hornhill , airn E 1 2 i i as muir Road , dinburgh , will g ve nformation to E u Country dancing in dinb rgh or at any of its branches .

I 8 T H E DANC ES

T EC HN I C AL ED I T O R S M RI E WEB TER AND 'AT EE P TU C' U L S HL N .

ABB RE 'I ATI ONS US ED I N D ES CRI P TI ON OF D ANCES AND S TEPS

— R— r right referring to righ describing turns or

— fi l left hand, foot, etc . L left ground pattern — — C clockwise C - C counter - clockwise

For descriptions of foot positions and explanations of any ballet terms the following books are suggested for reference :

A P i o assica B r mer f Cl l allet (Cecchetti method) . Cyril

Beaumont .

First S te s F F D p Ruth rench and elix emery .

’ The Ballet Lover s Pocket Book'a A . y mbrose .

Reference books for description of figures

’ The S C u D Pu cottish o ntry ance S ociety s blications . M u T Cairnmuir any vol mes , from hornhill , Road , E u 1 dinb rgh 2 .

’ The E F D S Pu nglish olk ance and ong S ociety s blications . ’ C S 2 P L ecil harp House, Regent s ark Road , ondon ,

N . W. I .

The Countr Dan B k1— N ce S . y oo v1 . Cecil J . harp ovello

Co . L , ondon .

I 9 P O OF B OD Y ARM P O T O AND H O L ISE , SI I NS D S — In all S cottish dancing Country dancing and Highland the body is held erect , with the head well poised . Scottish Count Ba r om Dancin T he l ry ( ll o ) g . women a ways ’ Th e hold their skirts ; the men s arms hang to sides . man leads the woman by the right hand (unless otherwise di S in cated) , and may turn her with one hand if the kip

- of- is h change step danced, or wit both hands when dancing Pas B the de asque . Hi hland Dancin T g g . here are two positions of arms which are characteristic of Highland Dancing . of I . Hands on waist . Wrists flat with the back the n s . wrist faci g forward, knuckles placed on the waist ' ms 2 . A a B r raised . ( ) oth arms curved in front of the be head, palms facing one another, about eighteen inches tween,with the thumb touching the first two fingers .

b O ne as . ( ) arm raised above , the other hand on the hip The general rule is that the opposite arm is raised to the le i g that is po nting . h ni nk 1 ms W en tur ng partners the men li first r then ar , the free arm being raised above the head . O ther Arm M ovements are described in the S e ann Tr h iub as .

B ASIC S TE PS

The Country - dance steps are less elaborate than the High land but all steps may be classified as either (a) Jig or S b St S Reel teps or ( ) rathspey teps .

2 0 REEL STEPS : SCOTTISH C OUNTRY DANCING

kzo- Chan e- - S e A S l g qf tp . travelling step forward ‘ ’ B C 1 or backward . (N. . ount 4 2 3 in Reel ‘ ’ time ins tead of and 1 and 2 in Jig time as

here described . ) 1 r Hop on foot, lifting r leg forwa d, knee and ankle extended a nd leg turned out (foot a few inches from ground) ; step forward on r foot; 3 close 1 foot to r foot in 3 rd position behind ;

step forward on r foot .

Repeat, hopping on r foot .

Pas de Ba ne A i ga . setting or turn ng step . ‘ ’ S e t n o ce means 2 Pas de Basque . S 1 1 pring from foot, making a very small and and

quick circular movement to R with r foot,

knee and ankle extended, before landing on r foot; 1 rd i close foot in 3 pos tion in front, changing weight; rd change weight to r foot in 3 position behind , i 1 extend ng foot outward .

1 . Repeat, springing on to foot

REEL STEPs : HIGHLAND DANCING (3 E'AMPLES) ' Chass S - - - e. imilar to the Skip change of step used C D in ountry ancing .

Pas de Bas que and Change O ne Pas de Basque on to r foot as in Country 1 and 2 s th s rd dancing, u ing 5 position in tead of 3 ;

‘ r foot 1 th spring in front of foot in 5 position, weight on balls of both feet ; s rl n 1 n th p g foot in fro t of r foot in 5 position, weight oWn balls of both feet . Repeat h ole step on to 1 foot .

2 1 d T L Toe an O . v . f ra elling step to , then R 1 th Hop on foot, placing r toe in 5 position in front ; 1 le 2 nd hop on foot, extending r g to raised position (Shake) ; glide r foot behind 1 foot in 5th position; 1 L step sideways on foot , travelling to ; 1 1 glide r foot behind foot, cutting foot to nd raised 2 position . 1 Repeat with foot, hopping on r foot .

STRATHSPEY STEPS 'SCOTTISH C OUNTRY DANCING

Travelling Strathspey Step ‘ ’ G i i in l lide r foot forward, g v ng knee and ankle before stepping forward on r foot; close 1 foot to r foot in 3 rd position behind ; step forward on r foot; 1 h hop on r foot, bringing foot throug close

to ground , knee turned out and ankle ex

tended . 1 Repeat on foot .

ommon Schottische S . C . etting step Step to R on r foot; close 1 foot to 3 rd position behind ; step to R On r foot l 1 t hop on r foot, p acing foo behind r u knee turned o t and ankle extended . L Repeat to on 1 foot .

STRATHSPEY STEPS : HIGHLAND DANCING

in tr hs e T Travell g S at p y . his step is Similar to that described a S C bove under cottish ountry, but the, dancer is higher e th 1 on the to s , and on the 4 beat the foot is placed on

the Shin of the r leg while hopping on the r foot .

2 2 Highland Schottische 1 2nd Hop on foot, pointing r foot to position; 1 f f hop on oot, placing r foot behind the cal of l leg ; 1 2 nd th hop on foot, pointing r foot to or 4 position; 1 1 hop on foot , placing r foot against Shin;

one Common S chottische step to R .

Repeat, hopping on r foot .

Double Toe- of 1 th Hop on foot, beating r toe lightly to 5 position in front; 1 2 nd hop on foot, extending r leg to raised position; repeat beats 1 and 2 ; glide r foot behind 1 heel ; step to L on 1 foot ; glide r foot behind 1 heel ; 1 2 nd hop on r foot, extending foot to raised

position .

Repeat on opposite foot .

D ANCE F O RM ATIO NS

The S cottish Country Dance has a great variety of forma tions , only two of which are described here .

THE ALLEMANDE (see Plate This is a method of pro gre ssion whereby the I st couple and 2 nd couple change places . The ras o H I t i G p r old. s couple stand in the m ddle of the ’ se t The hi s , facing the top . man lifts partner s r hand in 23 1 his r hand over and behind her head , joining hand in The 2 nd be front to lead her . couple stand immediately hind the I st couple with the same grasp . The 8 s whole progression takes —bar of music and may be danced to (a) Reel or Jig time 8 Skip - change - of- steps ; b S —8 S s us : ( ) trathspey time travelling trathspey step , th

1 I st couple move diagonally forward to R ; ’ 2 wheel on the spot to face the men s Side ; ’ 3 move to men s side of the se t; ’ 4 a long step down the dance on men s side ; 5 move slightly toward centre turning Side by S ide ’ ’ (woman on man s R) to face women s side of se t; 6 s man swing woman under her own arm to face him, s se t both hands cros ed, moving to centre of ; of 7 partners move back to own side dance, one place

two . 8 down, with short steps

Th e 2 nd couple follow close behind the I st couple for the

first three steps and finish above them on the fourth step . They dance the next four steps as described and fini sh in ’ The 1 st couple s place . whole movement is danced within e t the s .

i r S tra th F . M a n o RIGHTS AND LE TS y be da ced to a Reel , J g P Spey tune . artners change places , giving r hands ; change is l i 1 . T p aces with Side partners , giv ng hands his called ‘ Half Rights and Lefts ’ and is often used as a method of

l . progression, as the two couples have now changed p aces T u s o complete the fig re, dancer complete the square by changing places with own partner (r hands) and Side part ner (1 hands) . Th e 8 u whole figure usually takes bars of m sic, in which case two steps are taken to each handing . O n 1 the last change with hands , dancers turn toward their side partner to face the centre of the se t.

2 4

STRATHSPEY: MISS Drummond ofPerth

Arranged by Arnold Fosrer A Moderate

wzth R l t e Follow ee un

2 6 REEL Loch Earn

Arranged by Arnold Foster

e l wice th o h wi h t Pla ra h he R r r y St t spey. t n e t ug t epea s l men turn in, to face opposite ady on the last step instead of passing 1 shoul ders with one another (Diagram

STEP 11 : SET TO PARTNERS All set to opposite partner with any S trath

spey step .

STEP 111 : C UTTING THE FIGURE C F Repeat the utting of the igure, to finish

facing own partner .

STEP Iv : SET To PARTNER

As in S tep II .

Part II : Reel- time S 1 I' teps , I I , III and are now repeated in

reel time . To cut the figure (S teps I II I) 8 Skip

- - é T change of steps (Chass s) are used . o set to opposite partner and own partner S I S ( teps II ') any Reel teps may be used . E 8 Th ach step takes bars of music . e number of times that the figure is cut a but l may v ry, dancers must a ways finish

facing own partners .

28

M IS S F AL CONER’ S F ANC Y

L — u 1 800 ittle known collected abo t .

A S C - cottish ountry dance in reel time , showing r ti n a variety of fo ma o S.

n L Pa Formatio ongwise set for four couples . rtners face one

another about two or three yards apart, men

“

with l Shoulders towards the top of the set . ’ Couples stand - a t arm s length from one another

and are numbered in threes .

D ance

Bowa nd C — d urtsey men hands to Si es , ladies l ho d skirts .

STEP 1 : SET AND CAST I st couple set to each other with 2 PM off own Basque and cast one place on side of

f- the dance with 2 Skip change o steps .

Repeat the setting and cast up to own places .

STEP II : DOWN THE MIDDLE AND UP AGAIN I st couple lead down the middle with 3 Skip

- of- i th change steps , turn ng on the 4 step ; dance up the middle cast round the 2 nd couple on own side of the dance and lead up

8 S - - of- to the top of the set . ( kip change steps

for the whole figure . )

‘ ’ STEP 111 : ALLEMANDE (see Dance Formations ) I t md A s and 2 coupl—es dance the llemande with 8 S - - of kip change steps .

STEP W: HANDS FOUR ROUND AND BAC' I st and 3 rd couples join hands in a ring and

S lip 8 steps to L and 8 steps back to R . 3 0 MISS FALCONER'S FANCY ' T e M IS5 orbe rewll to un F s Fa e

Arranged by Arnold Foster A v el

Pl y A, B, A B B o e deszred a , as ft n as

‘ STEP v : RIGHTS AND LEFTS (see Dance Forma ’ tions ) I st 2 nd u L and co ples dance Rights and efts ,

taking 2 S kip - change - of- steps to each hand In g.

Repeat, having progressed one place . 3 1 THE HI GHL AND F L I NG

H a ighlands origin lly, but now widespread .

Character A lively and virile dance requiring great agility

and precision of footwork .

i n A Format o solo dance for men .

Dance T his dance has a great variety of steps ,

which may be performed in any order .

O nly four steps are described .

B OWF in THE . eet first position, hands down a chord l by the sides , inc ine head and Shoulders slightly forward and rise uprigh t with no ex

. on waist . aggeration Hands are then placed

STEP 1 : ROUND THE LEG Spring and point r foot in 2nd position; 1 hop on foot, placing r foot behind the calf of l leg ; 1 hop on foot, placing r foot in front of l e shin, heel just below kne ; 1 l hop on foot , p acing r foot behind the

calf as in beat 2 . Th e 2 ( movements of beats , 3 , 4 are called ‘ L ’ Round the e g and will be so described . ) Spring and point 1 foot in 2 nd position L 1 and dance Round the e g with foot . in 1 Repeat the movements described bar . 2 Repeat the movements described in bar , turning to R after pointing the 1 foot in nd 2 position .

3 2

1 1 hop on foot, placing r foot in front of (beat 4) hi s n . i ni i h 1 Repeat above, beg n ng w t foot .

o . Repeat above, beginning with r fo t Turn to the R as in 4th bar of S tep I Le (Round the g) . ni Repeat the whole movement , begin ng 1 ni L with foot and tur ng to .

STEP 111 : TOE AND HEEL S bar 1 Repeat the movements of tep I , L e (Round the g) . S l th pring on r foot, placing toe in 5 posi tion in front; 1 th hop on r foot, placing heel in s position in front;

- repeat the toe heel movements with r foot, hopping on 1 foot;

- i 1 repeat the toe heel movements w th foot, then with r foot; th S . turn to R , as in 4 bar of tep I

Repeat the whole movement, beginning 1 L with foot and turning to . Hands on waist for Toe and Heel move ments (bars 2 and

STEP Iv : ROUND THE LEG (DOUBLE TURN) S 1 Repeat tep I , bar , three times with r foot;

turn to R with same movement with 1 foot . S 2 1 Repeat tep I , bar , twice with foot; turn twice to L with Round the L e g twice with r foot pointing r foot in 2 nd position A before each turn . rms in opposition

throughout .

Th Bow. e dance finishes with another a chord

3 4 S EANN TRI UB HAS ( The Old Trews)

Highlands originally, now widespread .

Character S fl ul low and owing , with gracef yet virile move

ment .

'

ti S e e P . Forma on A solo dance for men . late 4

Dance

This ns i S P dance co sts of a low art, usually

S P S . four teps , and a Quick art , two teps

BO As the hl F but W. THE in Hig and ling , the a chord arms are raised above the head and r foot placed forward in 4th position after the Bow .

T 1 he SlowPart. : CI C STEP THE R LE 1 Hop on foot, bending and stretching r rw a th knee fo ard to r ised 4 position; repeat the above movement; Spring on r foot and repeat beats 1 and 2 kicking l leg lightly forward; 1 —i e . repeat on , r, l , r feet . two hops on

each foot . The n moveme t is a travelling one, the

dancer moving C - C in a small circle to i f fin sh facing forward for the Shu fle step . Shuffles I 4 on , r, l , r feet . C Repeat the circle, travelling and starting

on r foot . Shufli 1 es . 4 on r, l, r, feet Arms are raised during the circle and held on Sh waist for ufll es . 35 STEP 11 : SIDE STEP 1 Hop on foot , bending and stretching r ‘ ’ knee to shake r foot Sideways into 2 nd 1 f off position, about oot the floor; close r foot behind 1 foot in 5th position; glide 1 foot ge ntly to L ; close r foot behind 1 foot in 5th position; glide 1 foot to L ; close r foot behind 1 foot

in 5th position . ‘ ’ ki 1 si Repeat the movement, Sha ng foot de

ways and travelling to R . ‘ ’ i le Repeat the movement, Shak ng the r g l L Sideways and travel ing to . hufH s 1 l S e . 4 on , r, , r feet i Repeat the whole movement, hopp ng on r foot and finishing with 4 Shuffles on

l 1 . r, , r, feet

- rms . O n 1 t . e A s i . the beat of the Side step, ‘ ’ S i l for hake , the arms are raised qu ck y l ward upward, and head is turned slight y

to R . O n beats 2 and 3 and 4 the arms are Slowly

opened and lowered sideways downward . Shuffl Hands on waist for es .

STEP 111 : BRUSH STEP 1 Hop on 1 foot with r foot Slightly extended and bend r knee so that the r toe is brushed lightly along the floor towards l toe; , beat r toe in 5th position stamp 1 foot in 5th position behind ; h twi i In o ce 1 e p i on foot Shaking r l g tw ce raised 2nd position; spring r foot under 1 heel extending 1 foot c u forward ( o pe) .

Repeat, beginning with hop on r foot . 3 6 SEANN TRIUBHAS

a b r l Fosrer A Arr nged y A no d Moderato

Pla t ce h h wzth e at h oll wwh t M i of h i h e t r r i he a H l c h Wr ) y t oug pe s, t en f o t rqu s unt y on e t roug ( t pea s at a qui cker temp o Repeat the first 2 beats of Bar 1 ;

1 spring on r foot, extending foot forward in raised 4th position; 1 spring on foot, extending r foot forward

in raised 4th position . 3 7 Repeat the first 2 beats of Bar 1 with r foot;

extend r foot forward , then quickly place 1 r foot in front of l leg, behind heel, and turn quickly on balls of both feet to L

one whole turn .

Repeat the whole movement, hopping on r foot and finishing with turn to R about Arms in opposition except on the 2 Springs Bar ( 3 , beats 3 , when both arms are T ns Bar s raised, and on the ur ( 4, beat 3 ,

when hands are on waist .

STEP Iv : COUPE 1 ins 1 hi Hop on foot, beating r foot aga t S n and extending it to raised 4th position; glide r foot forward; close 1 foot behind r n i I 5th posit on . S i 1 le pring on r foot , leav ng g extended backward (Coupé over) ; beat 1 foot against r shin and extend l leg f r o ward , hopping on r foot; Coupeover on to 1 foot; step back on r foot;

close 1 foot 5th in front . Coupé under on r foot; step forward on 1

foot ; close r 5th behind . 6 n i h ho Repeat bars 5 and , begi n ngwit p

on r foot . i 1 Repeat the whole movement , hopp ng on

and r feet .

Ar D i i ms . escr bed under mus c bars Bar : 1 2 A ms i 5 (beats , ) r in opposit on;

h . (beats 3 , 4) bot arms up Bar 6 : 1 2 (beats , ) both arms lowered Slowly sideways downward on to waist; 3 8 Seann Triubhas

' and great pipes (beats 3 , 4) both arms raised Sideways d upwar .

QuickPart At the end of the last step , the dancer claps

his hands to indicate the change of time . He then dances any two Steps of the High

land Fling .

BIBLI OGRAPH Y

RM I H E A E' NDE —Carm na adel ca ol 1 n 1 8 C C . i G i v . . 2 d ed . 2 Edin A A L, L A R , 9 , r bu gh and London . I R F —H hl d Dress en u B ks nd n 1 E E E a . C G . i n P in oo o o 8 . OLL , G O g g , L , 94 —T e o B e 1 D M h S the a ond n 1 1 . F W. . R N i . o LOO , H G ATTA . t ry of gp p L , 9 HNS N A E' NDER —T e rd Da e o P a our S la d ck h S o nc a S he n . er i . w w JO O , L A f p t , t L ,

1 926 .

'AY M R DI H —The e ea e lle O Da e T e l s Co c ion ld Scot h nc u s . . E E . Gl n is n , J T g t of t

Edin ur 1 2 . b gh , 9 4 'ENNEDY D UG S in th e Proceedin s o the Sco ish An hro olo ical and , O LA , g f tt t p g

Fo ore oc e ol . I' o 1 1 E in ur lkl S i v N . . d . ty , , , 949 b gh

— f 1 1 f T e m a o c EYDEN HN Pre ace to th e 80 edi ion o h Co l nt S o land. L , JO t p y f t — D M P - - M h M us e ic M D L 'EI H N r Beul . ou C N R . ai a ic. a A O A , T NO A t t (G l

- m 1 1 ds . Tun e in l fa O an Ti s 0 . wor s S o . e ) b , 9 ' I D —T a D e o c a d: E h some F u N R . he a n l anc s S o l n i s o r MAC E 'E . N io , t f t g t ,

somes Flin s and some o her Sco ish Dances . as ow1 0 . , g t tt Gl g , 94

M I —M P a E i r 1 land. d n u . A . edieval l s in Sco 2 LL , . J y t b gh , 9 7 —S c is C oun r Danc B ISH UN Y D NCE IE Y. S COTT CO TR A SOC T ott h t y e ooks . M r Edin u . any volum es . b gh — ‘ ’ m s Tra T o s - and Ri ua Da . WD ME USINE . o S e o e on de o nce OO , L N t l t l E h F Da o l 1 s ' no . 6 . ournal the n l olk nce and S n S ocie vo . I J of g i g ty, , , 945

There are numberless collections of S tra thsp e y and Re e l tunes . Nie l C owand h is sons u ish ed man co e c ions offidd e un es in th e e a r p bl y ll t l t ly ni e e en ce n ur n t th t y. 40