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Manx Traditional Dance Revival 1929 to 1960
‘…while the others did some capers’: the Manx Traditional Dance revival 1929 to 1960 By kind permission of Manx National Heritage Cinzia Curtis 2006 This dissertation is submitted in partial fulfilment of the degree of Master of Arts in Manx Studies, Centre for Manx Studies, University of Liverpool. September 2006. The following would not have been possible without the help and support of all of the staff at the Centre for Manx Studies. Special thanks must be extended to the staff at the Manx National Library and Archive for their patience and help with accessing the relevant resources and particularly for permission to use many of the images included in this dissertation. Thanks also go to Claire Corkill, Sue Jaques and David Collister for tolerating my constant verbalised thought processes! ‘…while the others did some capers’: The Manx Traditional Dance Revival 1929 to 1960 Preliminary Information 0.1 List of Abbreviations 0.2 A Note on referencing 0.3 Names of dances 0.4 List of Illustrations Chapter 1: Introduction 1.1 Methodology 1 1.2 Dancing on the Isle of Man in the 19th Century 5 Chapter 2: The Collection 2.1 Mona Douglas 11 2.2 Philip Leighton Stowell 15 2.3 The Collection of Manx Dances 17 Chapter 3: The Demonstration 3.1 1929 EFDS Vacation School 26 3.2 Five Manx Folk Dances 29 3.3 Consolidating the Canon 34 Chapter 4: The Development 4.1 Douglas and Stowell 37 4.2 Seven Manx Folk Dances 41 4.3 The Manx Folk Dance Society 42 Chapter 5: The Final Figure 5.1 The Manx Revival of the 1970s 50 5.2 Manx Dance Today 56 5.3 Conclusions -
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Patterns in Pibroch the Secret to Composing, Memorizing, and Appreciating Ceol Mór
MUSIC The Design of It: Patterns in Pibroch The secret to composing, memorizing, and appreciating ceol mór. (Part II) by Barnaby Brown GEOMETRICAL AND LYRICAL The contrast in sonority between played before competitions replaced PRINCIPLES A and B phrases can be either slight or this genre’s original performance con- There are two opposite forces in pi- bold. A popular work in the eighteenth text: the gathering of warriors, or their broch design. “Geometrical” principles century, “War or Peace,” uses bold encouragement in battle. of pattern, order and symmetry have contrast to produce a more battle-like one effect on the brain, while “lyrical” effect. In Example 3a, the A phrase uses LYRICAL INTERLACED principles of spontaneity and tuneful- the consonant notes A-C-E, to contrast ness have quite another effect. In the with the dissonant sonority of the B �������������� Ùrlar of most pibrochs, geometrical phrase (highlighted in red), which lies ����� �������� and lyrical principles operate in part- on the notes G-B-D, clashing with the nership, but in some works, the Ùrlar drones. The four repetitions of “ho- The lyrical principal comes to the fore is relentlessly geometrical, devoid of droha” in the 4th eighth are answered in the Lyrical Interlaced Ùrlar design melody. Only in a couple of instances by the four “haninun” beats in the last family, which includes “Lament for is the Ùrlar a pure, uncomplicated eighth. “Haninun” in MacCrimmon the Children” (3: 99), “Hiotrotraho tune, without any intellectual clever- canntaireachd corresponds to “hiharin” hiobabem” (15: 535), “Salute to Don- ness. Generally, professional pipers of in Campbell notation. -
Clan Donald Lands Trust – Gaelic Performing Arts Competitions
Clan Donald Lands Trust – Gaelic Performing Arts Competitions The ancient MacDonald Lords of the Isles saw it as their responsibility to support, encourage, and develop the Gaelic culture in all its forms. For more than thirty years, the Clan Donald Lands Trust (CDLT) has been pleased to carry on this important responsibility. In 2017, we supported piping competitions in Scotland, New Zealand, Australia and North America. In North America we introduced a senior clarsach competition and a prize for male Highland Dance to encourage boys to take up, and men to compete in Highland Dance. The Clan Donald Lands Trust is fully committed to continuing its support of the Gaelic performing arts, and looks forward to additional opportunities to recognise and support Gaelic artists. The Trust currently (2018) supports 11 prestigious traditional arts competitions worldwide: • Harold McIsaac Memorial Prize for best Grade 3 pipe band, New Zealand (March) • Kate MacDonald Memorial Prize for Junior Clàrsach, Isle of Skye (March) • AWR MacDonald Memorial Prize for the best Grade 4 pipe band, Australia (April) • Donald MacDonald Cuach, Isle of Skye (June) • Princess Margaret of the Isles Prize for Senior Clàrsach, Isle of Skye (June) • Princess Margaret of the Isles Prize for Senior Clàrsach, North America (September) • Deborah Macdonald of Sleat Memorial Poetry Prize, Isle of Skye (October) • Ellice and Rosa McDonald Memorial Prize for Pipe Band, North America (November) • Col John McDonell of Lochgary Prize for Best Male Dancer (November) • Bishop Faber MacDonald Memorial Prize for best Senior Fiddle (November) • Col Jock MacDonald Junior Piping Prize, Isle of Skye (November) Each competition has been named after a late Clan Donald person: The Harold McIsaac Memorial Prize for best Grade 3 pipe band in New Zealand. -
“Completed and Restored to Use”
“COMPLETED AND RESTORED TO USE” REVIVAL AND DISSEMINATION OF MANX FOLKLORE AND TRADITION DURING THE TWENTIETH CENTURY “COMPLETED AND RESTORED TO USE” 1 REVIVAL AND DISSEMINATION OF MANX FOLKLORE AND TRADITION DURING THE twentieth CENTURY 2 “COMPLETED AND RESTORED TO USE” 1 REVIVAL AND DISSEMINATION OF MANX FOLKLORE AND TRADITION DURING THE TWENTIETH CENTURY 2 Edited by Stephen Miller Chiollagh Books 2004 This edition first published in 2004 by Chiollagh Books 26 Central Drive Onchan Isle of Man British Isles IM3 1EU Contact by email only: [email protected] © 2004 Chiollagh Books on behalf of the individual contributors All original material by Mona Douglas © 2004 Estate of Mona Douglas Administered by the Trustees of the Manx Museum and National Trust (Manx National Heritage) All Rights Reserved isbn 1-898613-17-6 CONTENTS 1 Introduction i Seminar Flyer ix Abstracts xi * PART ONE THE SEMINAR PAPERS April 2000 Parallels Between Descriptive Revival Models and the Manx Traditional Music Scene: From the 1970s to the Present Day Chloë Woolley 1 The Revival and Reconstruction of Manx Traditional Dance Robert Carswell 15 Revival and Reconstruction of Manx Traditional Dance Music David Speers 29 The Role and Influence of Inter-Celtic Festivals on the Revival of Language, Music and Dance Brian Stowell 37 * Appendix The Manx Song and Music Tradition (1979) George Broderick 43 Manx Traditional Music 25 Years On (2000) George Broderick 47 * Part Two Mona Douglas: A Bibliography Stephen Miller 51 “My Own Family Circle”: The Dancing Forebears of Mona -
'Dirk Dance of the Kings of Man'
The Dirk Dance of the Kings of Man: genuine tradition or cultural invention? 'The Dirk Dance of the Kings of Man': Genuine Tradition or Cultural Invention? GEORGE BRODERICK Universität Mannheim 1. Introduction 1.1. 'The Dirk Dance of the Kings of Man', or simply 'The Dirk Dance' or 'The Sword Dance', as it has now come to be known, has held a certain mystique among Manx dancers in the Isle of Man since its "discovery" some ninety years ago from a fisherman of Port Mooar, Kirk Maughold (see Miller below). Also equally as much scepticism about its authenticity has languished equally long among its detractors (see §7.1 below). The story goes that it was a ritual dance allegedly performed originally within the royal circles of the former Kings of Man of the Scandinavian period (10th-13th centuries), 1 later continued into modern times within the Kermode family of Maughold. This dance manifested itself in the early decades of the twentieth century through the efforts and enthusiasm of Manx folkdance / folksong collector and revivalist the late Mona Douglas (1898-1987), Ballaragh, Lonan. 2 In order to set the Dirk Dance in context comments made by Mona Douglas on the dance and its performance along with details of informants and performers, from the earliest in 1928 to the latest in 1983, lie in the hand of Mona Douglas herself and are supplied in the Appendix for refer- ence. 3 First in recent times to initiate discussion on this dance and its provenance is Stephen Miller who (2004: 99) introduces his presentation on the Dirk Dance as follows: What began as a "Manx sword dance (solo)" in 1928 (and merited only one line of description) became the "Dirk Dance" in 1937, the "Dirk Dance of the Kings of Man" in 1949, "The Kirk Maughold Sword Dance of the Kings" in 1957, and finally, pulling everything together, "The Kirk Maughold Sword Dance of the Kings of Man" in 1973 (Miller 2004: 99). -
Scotland ^ 37Th Annual Smithsonian
SMITHSONIAN FOLKLIFE FESTIVAL SCOTLAND ^ 37TH ANNUAL SMITHSONIAN FOLKLIFE FESTIVAL Appalachia Heritage and Haniioiiy Mali From Timbuktu to Washingto ii Scotland at the Smithsonian June 2 5 -July 6, 2003 Wa s h i n g t o n , D . C . The annual Smithsonian Folklife Festival brings together exemplary keepers of diverse traditions, both old and new. from communities across the United States and around the world. The goal of the Festival is to strengthen and preserve these traditions by presenting them on the National MaO, so that the tradition-hearers and the public can connect with and learn from one another, and understand cultural difierences in a respectful way. Smithsonian Institution Center for Folklife and Cultural Heritage 750 9th Street NW Suite 4100 Washington, DC 20560-0953 www. folklife. SI . edu © 2003 by the Smithsonian Institution ISSN 1056-6805 Editor: Carla Borden Associate Editors: Frank Proschan, Peter Seitel Art Director: Denise Arnot Production Manager: Joan Erdesky Design Assistant: Krystyn MacGregor Confair Printing: Finlay Printing, Bloomfield, CT Festival Sponsors The Festival is co-sponsored by the National Park Service. The Festival is supported by federally appropriated funds; Smithsonian trust funds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; volunteers; and food, recording, and craft sales. Major in-kind support for the Festival has been provided by media partners WAMU 88.5 FM—American University Radio, Tfie IVashiiigtoii Post, washingtonpost.com, and Afropop, and by Motorola, Nextel, Whole Foods Market, and Go-Ped. APPALACHIA: HERITAGE AND HARMONY This program is produced in collaboration with the Birthplace of Country Music Alliance and the Center for Appalachian Studies at East Tennessee State University. -
Piping Manuscripts in the National Library of Scotland George IV Bridge, Edinburgh EH1 1EW
Piping Manuscripts in the National Library of Scotland George IV Bridge, Edinburgh EH1 1EW The National Library of Scotland is the legal deposit library of Scotland. (The earlier part is based upon A Checklist of Bagpipe Music Manuscripts held in the National Library of Scotland, prepared by the Historical Committee of the Piobaireachd Society, 1986) Adv. MS 5.2.21 SKENE of Skene, George. Music book containing pieces, mostly Scottish, for violin or bagpipe. Dated 1717. 28 ff. Page 11 has the tune “Sir William Wallace, his March”, in 1715. Back cover inside over and over written, “George Skene, his musick book”. Adv. MS 5.2.22 ANON. Music for flute, mostly Scottish pieces, ff 1-13; followed by 60 tunes apparently for the Irish Union pipes, with a table of fingering, ff 14-31. Late 18th cent. i + 131 ff. Front and back covers have a Scottish crest in gold paint. Page 14 onwards the tunes are inverted. At the end of the book there is a scale with whole pictures that represent the chanter and which hole to cover for which note. Songs such as “The Highlander’s farewell to Ireland”, “Lord Kinard’s Reel”, “Jacks’ Frolick”, “White Jock”, “The Island of Love”, “March of the 15th Regiment” and “The Isle of Skye”. A few pages are missing seemed to have cut out. Adv. MS 5.2.23 Young, Elizabeth. Music for keyboard, short dance pieces, some Scottish, some by composers, including Handel, Arne; also containing pipe music. The name Eliz Young and the date February 21st 1739 appear inside the front cover. -
MEMBERSHIP and SUBSCRIPTION OPTIONS from Just £4.00 Per
Published by the LONDON BRANCH of the ROYAL SCOTTISH COUNTRY DANCE SOCIETY www.rscdslondon.org.uk Registered Charity number 1067690 Scottish country dancing– For fun, fitness and No 295 FEBRUARY TO MAY 2016 friendship On 16 January 2016, a full house at St Columba‟s enjoyed the Branch‟s Burns‟ Ceilidh Dance, with music provided by members of the Musicians‟ Ceilidh Workshop with Ian Robertson (see p15). COMBINED SOCIETIES’ MEMBERSHIP AND SPRING DANCE DANCE SUBSCRIPTION Saturday 16 April 2016 Saturday 19 March 2016 OPTIONS 7.00 – 10.30pm 7.00 – 10.30pm Doors open at 6.30pm Doors open at 6.30pm from just £4.00 per annum St Columba‟s Church, Pont Street, SW1X 0BD St Columba‟s Church, Pont Street, SW1X 0BD The annual cost of RSCDS membership Ian Robertson and his Scottish Dance Band Ian Muir of Prestwick through the London Branch starts at EH3 7AF .................................................. 40/6 Hooper‟s Jig ........................................ MMM/34 £22.00 per annum, including copies of The Shiftin‟ Bobbins ............................ Ormskirk 6/2 None so Pretty .......................................... 19/1 Reel quarterly (see p4 for details of Margaret Parker‟s Strathspey ....................... 31/3 Miss Eleanor ............................................. 49/5 membership options). For £4.00 for four Napier‟s Index ............................................ 45/8 Old Nick‟s Lumber Room ........................ 26/6 Scott Meikle ................................................. 46/3 issues, non-members of the Branch can Clutha ....................................................... 31/2 The Belle of Bon Accord ............... Deeside 2/10 join as second branch members, or subscribe to Linnea‟s Strathspey ................................. 47/2 Flora‟s Fancy .............................................. 49/8 The Reel. Electronic subscribers receive Best Set in the Hall .................................. -
The Thistle 033 October 1967
/\ Issued by the Thistle Club. President: Dr. Norman MacKenzie, C.M.G., M.M & Bar, Q.C., LL.D. Editorial Address: 3515 Fraser, Vancouver 10, B.C. Canada. No. 33. October, 1967. EDITORIAL. This issue is devoted to the late Mrs. MacNab. We take this opportun— ity to remind readers that a memorial fund has been set up with the ob— ject of providing a university scholarship in her name. Donations may be sent to The Mary Isdale Memorial Fund, c/o Mrs. T.G. Fridge, 5560 Columbia, Vancouver 15, B.C. We are sure that many of our readers would like to contribute. OUR DANCES NO. 41: MCLAINE OF LOCHBUIE OI McLAINE'S HOGMANAY Formation: Three-couple longwise set. Opening reeling and setting 1 — 8 The three men dance a reel of three, the first two men passing right-shoulder to start. Meanwhile the women do the same, but left—shoulder. 9 — 16 Set to partner. (Men high-cut if they can). Verse and chorus 17 — 24 The first man dances a figure—of—eight round the other two men, and the first woman round the other two women. Both start by dancing in. 25 — 4O Chorus: 1— 4 Set to partner 5—~8 Change places with partner, passing right—shoulder 9-16 Repeat 41 — 48 The second man dances a figure-of—eight round the other two men, starting anti—clockwise round the first man. Meanwhile the second woman dances a figure—of—eight round the other two women, starting anti—clockwise round the third woman. 49 — 64 Chorus 65 — 72 The third man dances a figure-of—eight round the other two men, and the third woman round the other two women. -
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XdfifflHS^ k' W®''' * nt-; 4'” !« WWi 1 yflmTTMyC1 ill mil \\ W !*• V M i: n w^S^fc.I sv?1 1 \ w¥ 1 « ^3S9)i Mi&F & »b£ v ' ^ A . ;.IV|, ;ji \ Bt?»y /jf Mlim. jgrf'Amk /« * * * •• f' * ■ National Librarv of Scotland /"O (^librarv^' s '♦ * % * * # fe: PL.XXX CotY)IQYU [jSooK of t]\eCjIvaXi of C/^71 -^piLnb ii F 1 //' C il 1] stA’i^a-\v^ oil tlieP A-ti ^ a-ij e X-li e "l^ltAer o' ())aV^ 1 S' ttb" " c.^fc saiv^, ; WaL? " X It Ar> o iy)«r j’o^ ^ ' C^A/vA^eL Rich' Smythson. Photo-Lith 9,Brooke St.fiolbom r m /ONqv Hichd Smythson Photo-Lith. 9,Brooke St .HoIbom ^Tocat^n (■^LIBRARY^ CONTENTS. Chapter I.—The Highland Dress; its Antiquity ; the Dress at different Periods as described by different Authorities; ditto, compared with the Lowland Dress ; its Suppression .. .. .. .. .. .. .. .. .. P- i Chapter II.—The Act for the Suppression of the Highland Dress; its Repeal in 1782; the Modern Covering for Human beings; the Modern Kilt—the way to make and wear it; the Military Dress; Brogan; the Healthiness of the Highland Dress; Spinning and the Dyes used; Weaving; the Tartan; principal Tartans, and their dominant Colors; Brooches and Ornaments, Sporans ; General Remarks .. .. ,, .. .. .. .. .. .. .. ,, p. 10 Chapter III.—The Ancient Military Education of the Kelts; the Fire Cross; Armour, Hauketons, and Chain Mail; Targaida, the Mode of Attack; Culloden and the Bonnie Prince; the Chariot, Sling, Spear, Sword, Dirk, Sgian dhu, Cross Bow, Bows and Arrows, Pistols, Lochaber Axes ,. .. .. .. .. ,, .. .. .. .. ., p. -
A Story to Every Dance— the Role of Lore in Enhancing the Scottish Solo Dance Tradition
—A Story to Every Dance— The role of lore in enhancing the Scottish solo dance tradition Mats Melin Copyright © 2018 Mats Melin All rights reserved. No part of this work may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage or retrieval system, without the prior written permission of the publisher. Responsibility for the research and permission obtained for this publication rests with the author. Melin, Mats, author A Story to Every Dance: The role of lore in enhancing the Scottish solo dance tradition / Mats Melin. Cover illustration by Mats Melin: Composite of various photos by Mats Melin and photos and cuttings held in the Melin archive. Image of William Sutherland dancing the Seann Triubhas at Dannevirke, New Zealand, 1926, used with kind permission, copyright Ewen McCann. Image of sword dancer by Shiobhan Smith 2015, used with kind permission. Blue silhouette deer head by Ingrid Melin. Issued in print and electronic formats. ISBN 978-91-984626-0-9 (paperback) ISBN 978-91-984626-1-6 (pdf) Contact: www.lorg-press.com Email: [email protected] Digital downloads need Adobe Acrobat Reader to display all images in this book properly when viewed on Mac/PC and on Ipad/tablets. _______________________________________________________________________ Lorg research hub & Lorg-press In 2017, I established Lorg as my research hub, and Lorg-press as a means of spreading my research beyond academic journals and other outputs, using the word Lorg which is Scottish Gaelic for ‘footprint’ and ‘to seek.’ I was compelled by the idea that archived dance descriptions need to be published so the current generation of dancers can access them and enjoy the act of dancing them and bringing them back to life.