Michael Schumacher Diplomarbeit Irish Dance

Total Page:16

File Type:pdf, Size:1020Kb

Michael Schumacher Diplomarbeit Irish Dance DIPLOMARBEIT Titel der Diplomarbeit „Irish Dance: Performing National Identity through Sports“ Verfasser Michael Schumacher angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Diplomstudium Anglistik und Amerikanistik UniStG Betreuerin: Ao. U.-Prof. Dr. Monika Seidl 2 3 TABLE OF CONTENTS 1.0 Introduction ................................................................................................................5 2.0 Nationalism, Nation, and Irish Identity .......................................................................8 2.1 Nation .....................................................................................................................8 2.2 From Nation to Nationalism .................................................................................. 11 2.3 Nation and Nationalism in Irish History ................................................................. 13 3.0 National Identity and Sports ..................................................................................... 18 3.1 Power and Identity in Physical Activity ................................................................. 18 3.2 Sports and Modernity ........................................................................................... 23 4.0 Sports and Nationalism in Ireland – The Gaelic Athletic Association ....................... 30 5.0 Irish Dance as Nationalist Alignment ....................................................................... 39 5.1 The Dance Master – A National Icon? .................................................................. 39 5.2 The Gaelic League– Irish Dance As Carrier of Nationalist Identity ....................... 43 5.3 Preserving and Reviving Ireland – Purifying Irish Dance ...................................... 47 5.4 De-Catholisation and Secularisation of Irish Dance .............................................. 58 6.0 Competitions of Irish Dance: The Link Between Nationalism and Sports ................ 61 7.0 Transformation from Local Folk Dance to Global Modern Sport .............................. 67 8.0 Irish Dancing as a Global Sport ............................................................................... 75 9.0 Irish Dance Shows Reflecting Shifts in National Identity .......................................... 79 10.0 Modern Irish Dance - Irish Dancing in 2011 ........................................................... 82 10.1 Separating Competitive Irish Dance from Informal Dance and Sean-nós ........... 82 10.2 Irish Dance as Play, Game and Sport ................................................................ 87 10. 3 The Vienna Feis 2011 ....................................................................................... 91 10.3.1 Comparability ............................................................................................... 92 10.3.2 The Rule System of the Vienna Feis 2011 ................................................... 93 10.3.3 Vienna Feis 2011 Structure .......................................................................... 97 4 10.4 Evaluation versus Aesthetics .............................................................................. 99 10.5 Higher, Faster, Stronger - The Authority of the Champion ............................... 100 11.0 Conclusion ........................................................................................................... 109 12.0 Bibliography ......................................................................................................... 113 13.0 Index .................................................................................................................... 116 14.0 Appendix .............................................................................................................. 123 14.1 Timetable - Vienna Feis Held 1. and 2. October 2011 ..................................... 123 14.2 Rules of the Joan Rafter School of Irish Dancing Feis in Vienna 2011 ............ 129 14.3 Basic Irish Step Dance Moves .......................................................................... 132 14.4 Abstract ............................................................................................................ 134 14.5 Zusammenfassung ........................................................................................... 135 14.6 Lebenslauf ........................................................................................................ 138 5 1.0 INTRODUCTION The Eurovision Song Contest in 1994 was held in Ireland and included an interlude dance show called Riverdance. In this short Riverdance show, dancers performed synchronous step dancing in a chorus line using battering rhythms at breathtaking speed and received standing ovations (Whelan 33). The step dancing displayed in this interlude was Irish step dance. It was Irish folk dancing adapted for shows. The dancing was accompanied by the singer group Anuna and included Irish music specifically composed for this interlude (33). It was a presentation of Ireland to celebrate the Eurovision Song contest in Dublin (33). Sales of the video recording of this 7- minute performance were highly successful earning 300,000 pounds revenue (38). The sum was donated to help victims of the civil war conflict in Rwanda, (38). Incited by the enormous success, the 90- minute show Riverdance was further developed and premiered at the Point Theatre Dublin on 9 February 1995 (47). Riverdance and follow - up shows such as Lord of the Dance and Feet of Flames became the most popular dance world tour productions in history. Irish dancing, previously performed in a closed world of tradition and competition, came to world-wide attention and recognition due to the success and popularity of the Irish dance shows. Competitive Irish dancing became the backbone of Riverdance and Lord of the Dance . It is necessary to emphasise that the Irish dancing shows admired by audiences worldwide are based on competitive sport seeking perfection. Without the high-standard dancing skills developed through competitive Irish dancing, Irish dance shows could not have been as accurate, strong and skilful performed. Irish dancing can be regarded as merely being a folk dance, as art or an expression of culture, but it can be clearly defined as competitive modern sport. This paper will explain the diverse nature of Irish dancing as it will centre on investigating the aspects that qualify Irish dance as modern sport. This will be achieved by applying sport studies for definitions and principles of modern sports. 6 Defining Irish dancing as modern sport is not enough as Irish dancing is intricately linked to Irish identity. Thus, the question arises how national identity is performed through Irish dance as modern sport. In order to explain Irish dance as expressing national identity through sport, the paper will deal with the principles of Irish nationalism and the formation of imagined nationalism. In terms of structure, the paper will first produce an explanation of the phenomenon of nationalism which will be followed by an account of its connection with the history of Ireland. Then, an overview of various approaches to modern sport and sport studies will be provided. Subsequently, insights into both nationalism and sport studies will be used for directly looking at the Gaelic League’s taking charge of Irish dancing in the 1890s. Furthermore, it will be investigated how dancing in Ireland became standardised and promoted as “the Irish dance”. In addition, research on the development from folk dance to Irish dance as sport will be presented including the creation of controlling organisations such as the Irish Dancing Commission. Subsequently, the structural organisation and rule system of the Irish dance competition-system will be highlighted in order to prove that Irish dance meets all criteria characterising it as modern sport. Researching on Irish dance as sports proved to be difficult due to the fact that only a small number of publications dealing with Irish dancing exists and due to a tradition of passing Irish dance knowledge informally without written record or notation system of step repertoire. Although basic information on Irish dance is provided in some books dealing with Irish history, theatre, and music, publications dealing exclusively with Irish dancing remained scarce until 1987. Cullinane, from 1987 onwards, successfully attempted to collect comprehensive material on different aspects of Irish dancing. He published his finding in a series of books dealing generally with the aspects of Irish dancing. Arthur Flynn provided a basic introduction to the history of Irish dance for the general reader, while Brennan highlighted early history of dancing in Ireland, variations of style, and written records of stylistic debates. Frank Whelan published a comprehensive guide and overview helping with the difficult topic of Irish dance. None of these books, however, focuses on Irish dance as sport. In 2003, Frank Hall published his book 7 Competitive Irish Dance: Art, Sport Duty, using an anthropological approach and field research to come up with a detailed analysis of Irish dance as competitive sport. All authors mentioned highlight the problem of lacking written records when facing knowledge of Irish dance. From the historical point of view, Irish dancing has always been fragmented; as to this day, it has only been taught orally and by imitation. No records of dance repertoire
Recommended publications
  • 1St Annual Dreams Come True Feis Hosted by Central Florida Irish Dance Sunday August 8Th, 2021
    1st Annual Dreams Come True Feis Hosted by Central Florida Irish Dance Sunday August 8th, 2021 Musician – Sean Warren, Florida. Adjudicator’s – Maura McGowan ADCRG, Belfast Arlene McLaughlin Allen ADCRG - Scotland Hosted by - Sarah Costello TCRG and Central Florida Irish Dance Embassy Suites Orlando - Lake Buena Vista South $119.00 plus tax Call - 407-597-4000 Registered with An Chomhdhail Na Muinteoiri Le Rinci Gaelacha Cuideachta Faoi Theorainn Rathaiochta (An Chomhdhail) www.irishdancingorg.com Charity Treble Reel for Orange County Animal Services A progressive animal-welfare focused organization that enforces the Orange County Code to protect both citizens and animals. Entry Fees: Pre Bun Grad A, Bun Grad A, B, C, $10.00 per competition Pre-Open & Open Solo Rounds $10.00 per competition Traditional Set & Treble Reel Specials $15.00 per competition Cup Award Solo Dances $15.00 per competition Open Championships $55.00 (2 solos are included in your entry) Championship change fee - $10 Facility Fee $30 per family Feisweb Fee $6 Open Platform Fee $20 Late Fee $30 The maximum fee per family is $225 plus facility fee and any applicable late, change or other fees. There will be no refund of any entry fees for any reason. Submit all entries online at https://FeisWeb.com Competitors Cards are available on FeisWeb. All registrations must be paid via PayPal Competitors are highly encouraged to print their own number prior to attending to avoid congestion at the registration table due to COVID. For those who cannot, competitor cards may be picked up at the venue. For questions contact us at our email: [email protected] or Sarah Costello TCRG on 321-200-3598 Special Needs: 1 step, any dance.
    [Show full text]
  • Annual Report Tuarascáil Bhliantúil 2017 Annual Report 2017 Tuarascáil Bhliantúil 2017 ISBN: 978-1-904291-57-2
    annual report tuarascáil bhliantúil 2017 Annual Report 2017 Tuarascáil Bhliantúil 2017 ISBN: 978-1-904291-57-2 The Arts Council t +353 1 618 0200 70 Merrion Square, f +353 1 676 1302 Dublin 2, D02 NY52 Ireland Callsave 1890 392 492 An Chomhairle Ealaíon www.facebook.com/artscouncilireland 70 Cearnóg Mhuirfean, twitter.com/artscouncil_ie Baile Átha Cliath 2, D02 NY52 Éire www.artscouncil.ie Trophy part-exhibition, part-performance at Barnardo Square, Dublin Fringe Festival. September 2017. Photographer: Tamara Him. taispeántas ealaíne Trophy, taibhiú páirte ag Barnardo Square, Féile Imeallach Bhaile Átha Cliath. Meán Fómhair 2017. Grianghrafadóir: Tamara Him. Body Language, David Bolger & Christopher Ash, CoisCéim Dance Theatre at RHA Gallery. November/December 2017 Photographer: Christopher Ash. Body Language, David Bolger & Christopher Ash, Amharclann Rince CoisCéim ag Gailearaí an Acadaimh Ibeirnigh Ríoga. Samhain/Nollaig 2017 Grianghrafadóir: Christopher Ash. The Arts Council An Chomhairle Ealaíon Who we are and what we do Ár ról agus ár gcuid oibre The Arts Council is the Irish government agency for Is í an Chomhairle Ealaíon an ghníomhaireacht a cheap developing the arts. We work in partnership with artists, Rialtas na hÉireann chun na healaíona a fhorbairt. arts organisations, public policy makers and others to build Oibrímid i gcomhpháirt le healaíontóirí, le heagraíochtaí a central place for the arts in Irish life. ealaíon, le lucht déanta beartas poiblí agus le daoine eile chun áit lárnach a chruthú do na healaíona i saol na We provide financial assistance to artists, arts organisations, hÉireann. local authorities and others for artistic purposes. We offer assistance and information on the arts to government and Tugaimid cúnamh airgeadais d'ealaíontóirí, d'eagraíochtaí to a wide range of individuals and organisations.
    [Show full text]
  • I Was in Sarah Clark's Irish Dance Camp: CAMP RINCE PROVENCE
    This year I spent a very special summer holiday, the best I've ever experienced!!! I was in Sarah Clark's Irish Dance camp: CAMP RINCE PROVENCE Let me tell you, it was simply amazing! I spent 6 days doing what I love to do!! My feet were terrible in the end but I enjoyed every single minute of it!! We could learn from 4 of the world's best Irish dancers: Breandán de Gallaí - Sarah Clark Joanne Doyle - Stephen Scariff and that was really incredible!!! You had those people, that you normally see on stage, right in front of you and could learn from them!! I mean, I knew that we would have instructors, who had (among others) been with Michael's shows Riverdance or Lord of the Dance, but I wasn't really aware of what that would actually mean! We had some of the most incredible Irish dancers directly in front of your eyes!!! Never before I had so marvellous teachers! Everyone of us, doesn't matter which level or age, could learn so terribly much from these amazing instructors.... and they haven't only been brilliant teachers to us, but also very lovely people, you could have a lot of fun with!! The general organisation was also very well done! Don't ask me how Sarah managed all that, I can't imagine!! Everybody's arrival and departure was arranged to his/her best satisfaction, we had an amazing schedule of dancing classes where we could even choose between different bonus classes each day, dinner & lunch were very well organized as well as the evening program and the shuttle busses each time from the apartments to the dancing halls and back!! Moreover Sarah cared about everybody's additional wishes & problems, as big or small they might have been, and that was really remarkable!! Honestly, I was wondering sometimes if she had another twin sister somewhere helping her to get all this done!! :-) So, we spent an incredible week dancing all the time and meeting many like-minded people from all over Europe!! I remember Michael saying once about Feet of Flames having successfully performed in Belfast, Northern Ireland, in front of 80.000 people, that..
    [Show full text]
  • 2014–2015 Season Sponsors
    2014–2015 SEASON SPONSORS The City of Cerritos gratefully thanks our 2014–2015 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at 562-916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following current CCPA Associates donors who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue where patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. MARQUEE Sandra and Bruce Dickinson Diana and Rick Needham Eleanor and David St. Clair Mr. and Mrs. Curtis R. Eakin A.J. Neiman Judy and Robert Fisher Wendy and Mike Nelson Sharon Kei Frank Jill and Michael Nishida ENCORE Eugenie Gargiulo Margene and Chuck Norton The Gettys Family Gayle Garrity In Memory of Michael Garrity Ann and Clarence Ohara Art Segal In Memory Of Marilynn Segal Franz Gerich Bonnie Jo Panagos Triangle Distributing Company Margarita and Robert Gomez Minna and Frank Patterson Yamaha Corporation of America Raejean C. Goodrich Carl B. Pearlston Beryl and Graham Gosling Marilyn and Jim Peters HEADLINER Timothy Gower Gwen and Gerry Pruitt Nancy and Nick Baker Alvena and Richard Graham Mr.
    [Show full text]
  • 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
    [Show full text]
  • Hotte Isabelle 2006 Memoire.Pdf
    JL1)j.3LÔ. z Université de Montréal Une étude comparative des danses traditionnelles et de leur musique d’accompagnement entre les cultures galles (écossaise et irlandaise) et québécoise par Isabelle Hotte Département d’anthropologie Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de M.aftre ès Sciences en anthropologie Décembre, 2006 ©, Isabelle Hotte, 2006 ç j ‘k LKJI O \yCl) Université (IIh de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y e aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexciusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes.
    [Show full text]
  • Ireland! Ireland Folk Dancing, Culture, Art, History, Adventure ! Broadens One!
    Jim Gold International Folk Dance Tours Travel to Ireland! Ireland Folk Dancing, Culture, Art, History, Adventure ! broadens one! August 5-17, 2023 Led by Lee Friedman i Galway, Connemara, Aran islands, Dingle, Killarney, Kerry, Cork, Blarney, Dublin. i Kiss the Blarney stone in Blarney Castle. i Meet and dance with Irish folk dance groups. i Traditional Irish music and dance. i International folk dancing. i See picturesque villages, medieval castles, remote cottages, wild and rugged beauty, valleys, mountains, lakes and cliffs. i Hear spoken Gaelic language in all its glory. i Traditional Irish nights, Trinity College, Book of Kells, legends and history, drive the ring of Kerry, Irish traditional music at Dolan’s pub, dance a jig, ride in horse drawn carriage, Ceili dancing, step-dancing, whiskey, whimsy, ancient forts, and more. i Price includes hotels, private bus, guide, sightseeing, all breakfasts, most dinners. i Folk dance and tour videos at: www.jimgold.com Itinerary Day 1: Saturday, August 5: Depart for Ireland on airlines of your choice. Day 2: Sunday, August 6: Limerick Walking tour of Limerick city. Pass the local rowing clubs as you cross the Sarsfield Bridge. See the Curragower falls on the river and the boardwalk takes the path up to the Treaty Stone. The Treaty of Limerick was signed on this stone and is it remains a symbol for the city to this day. Across the bridge from the Treaty Stone you will see King John’s 12th century castle built by King John of England, it stands as a testament to 800 years of history.
    [Show full text]
  • Trinity Irish Dance Study Guide.Indd
    ● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film.
    [Show full text]
  • Stephanie Mccarron
    Stephanie McCarron Some fact´s at first… When and where were you born? 25 January 1982, born in Derry, North Ireland. Your height? 5 feet 4 inches What is your favourite food? Italian Food / Crisps Your favourite music? Pop Your favourite movie? „Annie“, „Wizard of Oz“ Your favourite city / place in the world, you have visited so far? China, Japan What’s the most treasured moment in your life, so far? When I danced with Michael on stage Feet of Flames. The day I stepped on stage as gypsy. About your family… Please tell us something about your parents - what do they do for their living? Do they dance as well? Yes, my Mum danced when she was younger. My mum is a loans officer and my dad is a baker. Do you have any brothers or sisters? How old are they? Do they dance, too? What do they do for their living? Yes, I have one older sister and 2 older brothers. My sister danced for a while when she was younger. My sister is a hair dresser and my 2 brothers are engineers. Is it hard for you, to be apart from your family for such a long time while touring? How often are you able to travel back home again? Yes, it does get hard some times, because we´re such a close family. We usually get home every few months for a few days or weeks. What do your family thinks of your job as a Show Dancer? Are they proud of you? How often do they visit you on tour and watch you dancing the Show? My family think my job as a show dancer is fantastic.
    [Show full text]
  • School Show Study Guide
    420 East Packer Avenue Bethlehem, PA 18015-3179 (610) 758-2787 www.ZoellnerArtsCenter.org School Show Study Guide: Wednesday, March 13, 2019 at 10:00am Baker Hall at Zoellner Arts Center USING THIS STUDY GUIDE Dear Educator, On Wednesday, March 13, your class will attend a performance by Murphy’s Celtic Legacy, at Lehigh University’s Zoellner Arts Center in Baker Hall. You can use this study guide to engage your students and enrich their Zoellner Arts Center field trip. Materials in this guide include information about the performance, what you need to know about coming to a show at Zoellner Arts Center and interesting and engaging activities to use in your classroom prior to and following the performance. These activities are designed to go beyond the performance and connect the arts to other disciplines and skills including: Dance Culture Expression Social Sciences Teamwork Choreography Before attending the performance, we encourage you to: Review the Know before You Go items on page 3 and Terms to Know on pages 9. Learn About the Show on pages 4. Help your students understand Ireland on pages 11, the Irish dance on pages 17 and St. Patrick’s Day on pages 23. Engage your class the activity on pages 25. At the performance, we encourage you to: Encourage your students to stay focused on the performance. Encourage your students to make connections with what they already know about rhythm, music, and Irish culture. Ask students to observe how various show components, like costumes, lights, and sound impact their experience at the theatre. After the show, we encourage you to: Look through this study guide for activities, resources and integrated projects to use in your classroom.
    [Show full text]
  • Folklife Today September 2019: Chicago Ethnic Arts Project
    Folklife Today September 2019: Chicago Ethnic Arts Project Announcer: From the Library of Congress in Washington DC John Fenn: Welcome to the Folklife Today podcast. I’m John Fenn, and I’m here with my colleague Stephen Winick. Steve Winick: Hello! John Fenn: We’re both folklorists at the American Folklife Center here at the Library of Congress. I’m the head of Research and Programs, and Steve is the Center’s writer and editor, as well as the creator of the Folklife Today blog. Steve Winick: And today, we’re joined by several guests from the AFC to talk about an online collection of ours, the Chicago Ethnic Arts Project collection. This was the first of AFC's historic field projects, and the collection was digitized and then made available on the Library of Congress’s website just about two years ago. And a lot has been going on with it since, so, we've asked some of our colleagues to help us talk about it. Our first guest is our coordinator of Processing, Ann Hoog. Hi Ann! Ann Hoog: Hello! John Fenn: Ann, you know the collection quite well since you were involved in getting it ready for public online access. Where do we start? Ann Hoog: Well, let me first say that I do know it fairly well, but it is such an immense resource that I am still learning new things about it! But a good place to start is with the type of collection that it is – meaning, how it came to be. As you can tell by its name, the Chicago Ethnic Arts Project collection, represents materials from a cultural research and documentation project, or survey, that was undertaken in 1977.
    [Show full text]
  • Bernadette Flynn-O' Kane
    Bernadette Flynn-O' Kane Some fact´s at first… When and where were you born? born 01.08.1979 in Dublin, Ireland. Your height? 5" 6' Your favourite music? Most chart music, anything with a beat. Your favourite movie? “Moulin Rouge” Your favourite city / place in the world, you have visited so far? So many - couldn’t pick one. Shanghai - China Cape Town - South Africa Japan What’s the most treasured moment in your life, so far? I think it will definitely be in a couple of months - 28th December. My wedding Day to Damien. My career has been treasured memories to date: Oscar’s, Point Dublin 1996, Rehearsals, Hyde Park, so so many. About your family… Please tell us something about your parents - what do they do for their living? Do they dance as well? Dad’s name is Andy Flynn. Mum’s name is Mary Flynn. My parents own a Pub and B+B in Tipperary. Neither dance but mum always loved it. Do you have any brothers or sisters? How old are they? Do they dance, too? What are their jobs? 1 Brother Andrew = Arts Director in Galway. (3 Sisters) Elaine eldest = Accountant’s partner in her Company. Twins Maria and Catriona aged 19 - Collage. They don’t dance, all my sisters have done a little down the years. Is it hard for you, to be apart from your family for such a long time while touring? How often are you able to travel back home again? It’s probably the hardest thing about touring. I have a very close Family relationship and miss it terribly when away.
    [Show full text]