Ananda Henricksen and Professor Colleen West, World Dance Division of Dance Department

Irish Dance has many styles and forms both in traditional and contemporary dance. It has become a world wide dance form through the spread of the Irish Diaspora and contemporary shows. Although Irish dance in America is still connected to Ireland, it still takes time for changes to arrive. Also it is somewhat removed from the roots of Irish Dance. Because of the separation between the two countries I decided to go to Ireland and study Irish Dance in its native environment. I attended a two week limited enrollment and intensive workshop on Irish Dance at Irish World Music Centre in Limerick, Ireland.

Blas Iomlan was a workshop that covered many forms and styles of Irish Dance both in practical dancing, theory, lecture and whenever possible connecting it to traditional Irish music. The first week focused on competitive step dance and traditional Irish music. Francis Ward-T.C.R.G., Maria O’Connor, and Michael Ryan-T.C.R.G. were the principal instructors for first week. All had most of their Irish dance training in the competitive style sanctioned by the Irish Dancing Commission-created in 1929. The second week had an emphasis on show step dancing, sean nos, set dancing, and competitive styles other than that of the commission. Both weeks had many lectures and outside curriculum experiences.

Commission sanctioned competitive step dance is the most rigid, controlled, and precise form of Irish Dance. It also gave birth to the most well known form, “show” dancing or “riverdancing.” The commission was created in 1929 started with a few rules, but now they strictly regulates their world of Irish Dance. Commission competitive dance is also different from the other forms of competitive dance, in that its founders were neither dancers nor dance teachers. The were regular Irish men who sought to preserve the Irish culture. As a result many other commissions were formed by teachers who did not wish to join . However, The Commission remains the largest competitive group both in Ireland, and the rest of the world, that is the main reason why their style dominates the Irish dance world today.

At the workshop, Maria O’Connor, Michael Ryan, and Francis Ward all taught the commission style; however, even within the commission there are different styles depending on region. The most noticeable difference is between the Americans and the Irish. The Irish are more contained in movement, with precise sounds. Their feet stay directly under them while the Americans will sometimes dance with their feet a little bit forward. The Irish also tend to favor traditional steps but with changes that make them more progressive instead of just making up entirely new steps. Suzanne Kelly a dancer and teacher certified with An Comdhail actually had the most traditional styling. Their styling is not so rigid or straight. Movements are still very light but tend to be less intricate. Arms also tend to be slightly looser and not so rigid. In fact the styling is very similar to what Irish step dance looked like when The Commission began to pick certain “sets” or dance steps set to a traditional tune.

Maria O’Connor taught a traditional set that was not chosen as “the” set steps to the tune the Blackbird. Maria learned the piece from Dr. Catherine E. Foley who learned it from one of Jerry Molineux’s students. So it was passed directly rather than from notes or videotapes. This version of blackbird was choreographed by Jerry Molineux one of the last traveling dancing masters of Ireland, and pre-dates the commission. The commission chose a version of blackbird that is much closer to commission styling and form. Jerry’s version is much more fluid and lower to the ground. It still focuses on rhythm but it is loose in the ankles and the hips. It is considered more of a man’s style because of its connection with the ground. Part of the styling comes from a feeling of being connected to earth which makes it a sort of transition between sean nos and competitive step dance.

Sean nos was “taught” at the workshop by Kieran Jordan-T.C.R.G.. She quoted Orfhlaith Nibhriain- T.C.R.G., who said, “It must caught, it can’t be taught.” Sean nos is a highly improvisational form that focuses on the rhythms created with the feet in response to the music. It was generally danced by older men in the pubs and kitchens as their sort of step about. They danced to the music in their own way. Because of this there is no set style. Kieran learned it by going to pubs and dancing with some well known sean nos dancers. There are some “steps” or common footwork rhythms but they are not mandatory. Sean nos is much more natural movement of the body, arms are allowed to swing, the hips can sway, knees bend, and the feet find rhythms that play with the music. Sean nos is rarely danced for competition or show it is a social dance.

Some other social dances are the ceili and set dances. Ceilis are no longer found as frequently in Ireland. Today they are generally for charity or school events instead of the impromptu social gatherings they used to be. Ceili refers either to a gathering of people with song and dance or to ceili dances- the figure dances set down as acceptable by the commission. The more common group dances are the set dances which are the ones generally danced at a ceili. They are less strict and tend to have simpler figures and moves. They are not considered acceptable for competition and so are danced only at ceilis or other social gatherings. I was able to attend a ceili and video some of the dances and music. I was also able to video some of the instructors when they were teaching the various forms of Irish Dance.

When I came back I compiled all of my video footage onto one DVD mainly for use in the Irish Workshop sponsored by World Dance Division of the Dance Department, and held on Nov 4th, 2006 at BYU. I presented a lecture on the styles and forms of Irish Dance in Ireland, and also taught a practical section where I taught them the dances and styles I had discussed in my lecture. This workshop was recorded, both the lectures and dance section and made available on DVD in the Smith Fieldhouse Learning Resource Center to anyone at BYU in their future research. Some of my research will be added to the syllabi of the Irish section of the ethnic dance classes.

I am currently studying for my T.C.R.G. or certification to teach Irish Dance from The Irish Dancing Commission in Dublin Ireland. The research I have gathered has helped me to understand the background and current forms of Irish Dance, a knowledge I will be able to share with future colleagues and students in my career as a certified Irish Step Dance teacher.