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The Roots and Routes of Irish Step Dancing: Issues of Identity and Participation in a Global World Catherine E
studying culture in context The roots and routes of Irish step dancing: issues of identity and participation in a global world Catherine E. Foley Excerpted from: Routes and Roots Fiddle and Dance Studies from around the North Atlantic 4 Edited by Ian Russell and Chris Goertzen First published in 2012 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-7-3 About the author: Catherine Foley is course director of the MA in Ethnochoreology and the MA in Irish Traditional Dance Performance at the Irish World Academy of Music and Dance, University of Limerick; she also supervises doctoral research (academic and practice-based) at the Academy. She is Founding Chair Emerita of Dance Research Forum Ireland, Director of the festival, Tráth na gCos, and Project Leader of the National Dance Archive of Ireland. Copyright © 2012 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 11 The roots and routes of Irish step dancing: issues of identity and participation in a global -
Be Square Caller’S Handbook
TAble of Contents Introduction p. 3 Caller’s Workshops and Weekends p. 4 Resources: Articles, Videos, etc p. 5 Bill Martin’s Teaching Tips p. 6 How to Start a Scene p. 8 American Set Dance Timeline of Trends p. 10 What to Call It p. 12 Where People Dance(d) p. 12 A Way to Begin an Evening p. 13 How to Choreograph an Evening (Programming) p. 14 Politics of Square Dance p. 15 Non-White Past, Present, Future p. 17 Squeer Danz p. 19 Patriarchy p. 20 Debby’s Downers p. 21 City Dance p. 22 Traveling, Money, & Venues p. 23 Old Time Music and Working with Bands p. 25 Square Dance Types and Terminology p. 26 Small Sets p. 27 Break Figures p. 42 Introduction Welcome to the Dare To Be Square Caller’s handbook. You may be curious about starting or resuscitating social music and dance culture in your area. Read this to gain some context about different types of square dancing, bits of history, and some ideas for it’s future. The main purpose of the book is to show basic figures, calling techniques, and dance event organizing tips to begin or further your journey as a caller. You may not be particularly interested in calling, you might just want to play dance music or dance more regularly. The hard truth is that if you want trad squares in your area, with few ex- ceptions, someone will have to learn to call. There are few active callers and even fewer surviving or revival square dances out there. -
Philadelphia Ceili Group Seanachie ~January 2010
Philadelphia Ceili Group Seanachie ~March 2016 Upcoming Concert Events and dramatic chapters in the history of Ireland. Sponsored By the Philadelphia Ceili The journey begins with pre-Christian myth, and Group continues through the Golden Age of Irish Civilization to the coming of the Vikings, the Normans, and the English. Relive the Flight of ************ the Earls, the events of 1798, the time of the 4th Friday Ceili Fenians, The Famine, the trauma of exile, and the Friday, February 26th at 8:00 pm Easter Rising of 1916 as described by W.B. Yeats and epitomized by Cúchulainn, the hero of the The Philadelphia Ceili Group 4th Friday Ceili tribe. Mor. Recorded Music provided by John Shields - Hosted by John Shields and Cass Tinney Check out this short film about the Bring a dessert or dish to share, 50/50 raffle, project: https://vimeo.com/147461433 prizes. Admission: $10 The Commodore Barry Club, “The Irish Center”, ****************** 6815 Emlen St., Philadelphia, PA 19119 Runa in Concert Sunday, March 6th, 2016, 7.00pm ****************** The Crooked Road – A Ramble Through Irish History in Words & Music with DIARMUID JOHNSON, poet, musician and Gaelic scholar February 27, 2016 at the Irish Center, 8:00pm Tickets: $20.00 (Family price $50.00; 12-18 Tickets $20.00 Children Free years old are $5.00; Kids 12 and under FREE) THE CROOKED ROAD is a musical and poetic Quickly gaining recognition as one of Irish journey through Irish history leading up to the music’s new “super-groups”, RUNA has been Easter Rebellion of 1916. Lyrics from the earliest enchanting audiences by pushing the boundaries times are woven into the show, along with music of Irish folk music, since their formation in 2008. -
20.12.19 Policing the Jig Hour.Wav
20.12.19 Policing The Jig Hour.wav SM: Sarah McConnell AS: Audio Sample MO: Mike O’Malley TS: Thomas Stanley NB: Naima Burrs [00:00:00] SM This Irish tune is called Chief O'Neill's Favorite. It's named after Francis O'Neill, also known as the savior of Irish folk music. Back at the turn of the 20th century, O'Neill was a prominent Chicago police chief, and while he was out patrolling the streets, he collected thousands of tunes, mainly from the same community, he was sworn to protect. But his methods weren't always exactly aboveboard. AS There's one guy who he describes going to his house and he goes to hear his fiddle music. And he goes up these rickety stairs into this very small apartment and he's in his police uniform. And the family don't want him there. They don't like having a captain of police in their house. There's - no good can come of that. And eventually, he says, you know, he gives them some coins and beer is produced and the fiddle player relaxes enough to play some tunes. SM From Virginia Humanities, this is With Good Reason. I'm Sarah McConnell and today, the savior of Irish folk music. Later in the show, what does it mean to listen deeply? AS See the - the sound product as it's presented to you as this beautiful smorgasbord of sounds and just feed on it. SM But first, Frances O'Neill joined the Chicago police force in 1873 and later became police chief from 1981 to 1985. -
An Investigation Into the Feasibility and Benefit of Irish Set Dancing for People with Parkinson’S Disease
An Investigation into the Feasibility and Benefit of Irish Set Dancing for People with Parkinson’s Disease Joanne Shanahan BSc. MISCP A thesis submitted to the University of Limerick in fulfilment of the requirements for the award Doctor of Philosophy in Clinical Therapies University of Limerick Supervised by: Dr. Amanda M. Clifford Dr. Orfhlaith Ni Bhriain, Prof. Meg E. Morris Submitted to the University of Limerick, November 2016 i i Abstract Title: An investigation into the feasibility and benefit of Irish set dancing for people with Parkinson’s disease Author: Joanne Shanahan Irish set dancing may be beneficial for people with Parkinson’s disease and encourage habitual exercise participation through the integration of dynamic balance activities, socialisation and musical enrichment. Currently, only one published study, which was carried out in a sample of Venetians with Parkinson’s disease, has investigated the feasibility of set dancing. Set dancing has a rich cultural heritage in Ireland and is a popular social and cultural activity in Ireland. Thus, research exploring the role of set dancing as an exercise activity in an Irish population is warranted. The aim of the project presented in this thesis was to investigate the feasibility and benefit of Irish set dancing for people with Parkinson’s disease in Ireland. The findings of a systematic review and single-group feasibility study informed the methods of a multi-centered pilot randomised controlled trial (RCT). Ninety participants were randomised (n=45 per group) into a set dancing group and usual care control group. No adverse effects were reported. Attrition during the study was >40% in both groups and adherence to the intervention was 93.5%. -
In Mckinney August 14
Céilí Vol. 29, No. 4 A Publication of the Southwest Celtic Music Association July-August 2010 Mick Moloney and The Green Fields of America: in McKinney August 14 he SCMA is proud to present to you what promises to be having inspired, trained and toured the best musicians in the United one of the most dynamic and exciting concerts we’ve yet States. For more than thirty years this renowned musician and Tproduced. On Saturday, August 14, 2010, Mick Moloney folklorist has led a stalwart group of Irish-American instrumen- and The Green Fields of America will take the stage at the talists, singers and dancers in concerts from coast-to-coast. McKinney Performing Arts Center and make it their own. If you have even a slight interest in Irish and folk music, you’ve heard Mick Moloney’s work. He is the dean of Irish-American music, Continued on page 2 Céilí July - August 2010 1 " Cover Story been privileged to use. If you’ve not been to a show here I urge Continued from page 1 you to make this one your first. You will not be disappointed by either the venue or the presentation. All seats in the house are very good, but be advised they are the original wooden seats from Though born in Ireland Moloney concentrates his efforts its days as an actual courtroom, so feel free to bring a seat cush- and interest on the Irish in America, and is an expert on the pe- ion! MPAC also provides cushions for a $1 donation that goes to riod during which the Irish were first attempting to integrate into the maintenance and preservation of the space. -
TUNE BOOK Kingston Irish Slow Session
Kingston Irish Slow Session TUNE BOOK Sponsored by The Harp of Tara Branch of the Association of Irish Musicians, Comhaltas Ceoltóirí Éireann (CCE) 2 CCE Harp of Tara Kingston Irish Slow Session Tunebook CCE KINGSTON, HARP OF TARA KINGSTON IRISH SLOW SESSION TUNE BOOK Permissions Permission was sought for the use of all tunes from Tune books. Special thanks for kind support and permission to use their tunes, to: Andre Kuntz (Fiddler’s Companion), Anthony (Sully) Sullivan, Bonnie Dawson, Brendan Taaffe. Brid Cranitch, Comhaltas Ceoltóirí Éireann, Dave Mallinson (Mally’s Traditional Music), Fiddler Magazine, Geraldine Cotter, L. E. McCullough, Lesl Harker, Matt Cranitch, Randy Miller and Jack Perron, Patrick Ourceau, Peter Cooper, Marcel Picard and Aralt Mac Giolla Chainnigh, Ramblinghouse.org, Walton’s Music. Credits: Robert MacDiarmid (tunes & typing; responsible for mistakes) David Vrooman (layout & design, tune proofing; PDF expert and all-around trouble-shooter and fixer) This tune book has been a collaborative effort, with many contributors: Brent Schneider, Brian Flynn, Karen Kimmet (Harp Circle), Judi Longstreet, Mary Kennedy, and Paul McAllister (proofing tunes, modes and chords) Eithne Dunbar (Brockville Irish Society), Michael Murphy, proofing Irish Language names) Denise Bowes (cover artwork), Alan MacDiarmid (Cover Design) Chris Matheson, Danny Doyle, Meghan Balow, Paul Gillespie, Sheila Menard, Ted Chew, and all of the past and present musicians of the Kingston Irish Slow Session. Publishing History Tunebook Revision 1.0, October 2013. Despite much proofing, possible typos and errors in melody lines, modes etc. Chords are suggested only, and cannot be taken as good until tried and tested. Revision 0.1 Proofing Rough Draft, June, 2010 / Revision 0.2, February 2012 / Revision 0.3 Final Draft, December 2012 Please report errors of any type to [email protected]. -
The Dark Arts Journal REIMAGINING the GOTHIC
The Dark Arts Journal REIMAGINING THE GOTHIC Volume 2 Issue 2 | darkartsjournal.wordpress.com | Autumn 2016 P a g e | 2 The Dark Arts Journal: Vol 2.2 ISSN 2397-107X Contents Cover Art: Barcode Future 1 Morticia Editor’s Introduction 3 Richard Gough Thomas The Haunted Land: New Zealand’s Gothic Landscape in 4 Photography Lucy Winnington ‘With Teeth’: Beyond Theoretical Violence in Gothic Studies 19 Laurie Ringer Reading Irish Traditional Music Through A Gothic Lens 39 Debra Reddin van Tuyll & Carl Purdy Performing the Sounds of Darkness: an Exploratory Discussion of 71 Musical Instruments and the Gothic Aesthetic Will Connor Contributors 97 P a g e | 3 Editor’s Introduction Richard Gough Thomas This issue takes ‘re-imagining the Gothic’ for its theme: stepping beyond the journal’s usual focus on literature and film into music, photography, and religious painting. Lucy Winnington’s essay discusses the ‘haunted land’ in the photography of New Zealand, marking the journal’s first submission on NZ Gothic. Laurie Ringer’s article “With Teeth” takes a Deleuzian reading of A L Kennedy alongside paintings of the martyred St. Apollonia. Debra Van Tuyll and Carl Purdy’s piece (our first collaborative essay here at Dark Arts) looks for the uncanny in Irish folk music. Finally, Will Connor explores experimental Gothic music and performance. As always, this issue couldn’t have happened without the help of our reviewers and advisors, who give the journal the ‘bite’ of rigorous scholarship. P a g e | 4 The Haunted Land: New Zealand’s Gothic Landscape in Photography Lucy Winnington Landscape is central to representations of New Zealand’s national identity. -
Music in Irish Emigration Literature
The University of Notre Dame Australia ResearchOnline@ND Theses 2017 Singing exile: Music in Irish emigration literature Christopher McCann The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details McCann, C. (2017). Singing exile: Music in Irish emigration literature (Master of Arts (Thesis)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/166 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. Singing Exile: Music in Irish Emigration Literature by Christopher McCann A thesis submitted in fulfillment of the requirements of the degree of Master of Arts (Research) at the University of Notre Dame Australia (Fremantle) June 2017 Contents Abstract iii Acknowledgements v Introduction 1 Chapter One: The Revival Cultural Field and Exile: George Moore and James Joyce 13 Chapter Two: Traditional Music and the Post-Independence Exodus to Britain 43 Chapter Three: Between Two Worlds: Music at the American wake 66 Chapter Four: “Os comhair lán an tí”: Sean-nós as a site of memory in Brooklyn 93 Chapter Five: Imagined Geography and Communal Memory in Come Back to Erin 120 Conclusion 144 Appendix: Annotated Discography 150 Bibliography 158 ii Abstract Ireland possesses a cultural heritage that is particularly literary and musical. -
Blas International Summer School of Irish Traditional Music and Dance Irish World Academy of Music and Dance University of Limerick
Blas International Summer School of Irish Traditional Music and Dance Irish World Academy of Music and Dance University of Limerick DANCE TUTORS COLIN DUNNE Colin Dunne is a leading figure in the world of traditional Irish dance, who has made the cross over into contemporary dance and theatre. Best known internationally for his performances and choreography in Riverdance and Dancing on Dangerous Ground, he has been forging a new creative path since his time as artist in residence at University of Limerick where he completed an MA in contemporary dance in 2002. In 2007 he was nominated for a UK Critics Circle National Dance Award (best male: modern dance) for performances at The Barbican in Fabulous Beast’s production of The Bull. His first solo show Out of Time premiered in January 2008. Colin Dunne was born in 1968 in Birmingham, England to Irish parents. He took his first lesson in Irish step dance at the age of three with the locally based Comerford School. At the age of 9, he won his first World Championship title and was the first dancer to win the World, All England and All Ireland titles in the same year. From the age of 12 he was taught by Marion Turley in Coventry and when he retired from competition at the age of 22, he had won a total of nine World, eleven Great Britain, nine All Ireland and eight All England titles. He was influenced from an early age by tap dance – Gregory Hynes in particular – which contributed to his often complex approach to rhythm within the structures of traditional Irish music. -
Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020: an Examination of Non-Specialist English Social Folk Dance
Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020: An Examination of Non-Specialist English Social Folk Dance Chloe Elizabeth Middleton-Metcalfe MA, BA (Hons) A thesis submitted in partial fulfilment of the requirement for the degree of PhD Department of Dance University of Roehampton 2021 1 Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020 CEMM Abstract This thesis is a genre-centred investigation of one dance form which is known by a variety of names including: barn dance, ceilidh, country dance, and (English) folk dance. A hitherto academically neglected dance genre, this thesis takes a mixed diachronic and synchronic approach to explain and contextualise the developments of English social folk dance from the mid-twentieth century. In so doing it contributes to an under-studied area of research: the experiences of occasional, or novice adult dancers. In order to answer the central question of ‘why do people hold English social folk dances?’ this thesis examines the genre’s recent history. The approach of Douglas Kennedy, head of the English Folk Dance and Song Society (EFDSS) from 1924-1961 is examined. Consideration is given to the influence of other dance genres (in particular square dance and old time) on the formation of an English folk repertoire. The neo-traditionalist approach of the ceilidh movement in the 1970s and the quest for an English sound and dancing style is examined. Folk dance in English schools is charted, providing a counter- story to modern educational dance centred histories. The second half of this thesis utilises ethnographic fieldwork from thirty dance events (2017-2018), supplemented with interviews and questionnaire data. -
Bill Black's Webabc Library Master Index As of 30 Sept 2014 Key To
Bill Black's webABC Library Master Index as of 30 Sept 2014 key to folder abbreviations on Sheet 2 title (* assigned) ("per source") (alternate) type folder file ID A FEW GOOD MEN* ("march") MARCH mfc 001a_few A FOOL'S ADVICE H'PIPE pobr 001a_fools A LOVER OF MILD BEHAVIOR AIR 3/4 moi.1850 001a_lover A MAN'S A MAN FOR A' THAT MARCH ofpc/v.3 001a_man's A SAILOR LOVED A FARMER'S DAUGHTER AIR 3/4 moi.1850 002a_sailor A SOLDIER TONIGHT IS OUR GUEST AIR 3/4 moi.1850 003a_soldier ABBEYLEIX REEL srhi 01abbey ABERDEENE, OR THE DEEL'S DEAD DANCE 2/2 cccd 01aber ABIGAIL JUDGE AIR 4/4 jcgi 001abig_j ABIGAIL JUDGE CAR:4/4 carolan 001abig_j ABSENT MINDED MAN JIG moi.1850 001abs_mm ABSENT-MINDED WOMAN REEL dmi.1001 001abs_mw ACCORD JIG rec 001acc ACE AND DEUCE OF PIPERING SET 4/4 roche/v.3 001ace ACE AND DEUCE OF PIPERING (1ST SETTING) L.DANCE 4/4 moi.1850 001ace_deuce_1 ACE AND DEUCE OF PIPERING (2ND SETTING) L.DANCE 4/4 moi.1850 002ace_deuce_2 ACHILL ("Achil") AIR AIR 3/4 moi.1850 004achill ACHILL SOUND REEL misc 001achill ACHONRY LASSES REEL cre/v.2 01achon ACHREIDH JIG JIG cre/v.1 001achr ACROBAT H'PIPE mfc 002acro ACROSS THE FENCE H'PIPE mfc 003across_f ACTIVE OLD MAN JIG moi.1850 002act_om ADIEU ADIEU THOU FAITHLESS WORLD AIR 4/4 ofpc/v.1 01adieu ADVICE AIR 2/4 moi.1850 005advice AER na MAIDNE (Morning Air) AIR 6/8 roche/v.3 002aer AFTER THE BLIZZARD JIG bbmg 001after_b AFTER THE HARE* REEL cre/v.2 02after_h AFTER THE SUN GOES DOWN REEL moi.1850 001after_sun AGGIE WHYTE'S JIG lom 001aggie AGGIE WHYTE'S REEL mvbt 001aggie AGHADA JIG liddy.1 001agha