Scottish highland dance
Encyclopedia
The term Highland dance or Highland dancing is used today to refer to a style of athletic
solo dancing which developed in the Gaelic
Highlands
of Scotland
. Highland dance evolved into its current form during the nineteenth and twentieth centuries in the context of competitions at public events (namely Highland games
), where it is often performed to the accompaniment of Highland bagpipe
music. Highland dancers wear specialized shoes called ghillies
.
Highland dance has been subject to many influences from outside the Highlands. For example, it has been heavily influenced by the urban aesthetics
of the patrons and judges of dance competitions since the nineteenth century.
Highland dance should not be confused with Scottish country dance
.
. It takes a massive amount of stamina and arm/leg strength, no matter how old the dancer is. Highland Dance is recognised as a sport by the Sport Council of Scotland.
In Highland dancing, in contrast to, say, ballroom dancing, the dancers dance on the balls of the feet. In many ways, Highland dancing evolved from solo step dancing, but while some forms of step dancing are purely percussive in nature, Highland dancing involves not only a combination of steps but also some integral upper body, arm, and hand movements. Even so, it is still considered a form of step dancing in that the main element of Highland dancing is concerned with footwork.
Highland dancing should not be confused with Scottish country dancing
which is both a social dance
(that is, a dance which is danced with a partner or partners) like ballroom dancing, and a formation dance
(that is, a dance in which an important element is the pattern of group movement about the dance floor) like square dancing.
Some Highland dances do derive from traditional social dances, however. An example is the Highland Reel, also known as the Foursome Reel, in which groups of four dancers alternate between solo steps facing one another and a figure-of-eight style with intertwining progressive movement. Even so, in competitions, the Highland Reel dancers are judged individually. Most Highland dances are done solo.
were performed by warriors in many parts of Europe
in the prehistoric period. Forms of sword dancing are also attested in the late Medieval period. Ritualistic and combative dances that imitated epic deeds and martial skills were a familiar feature in Scottish tradition and folklore. The earliest reference to these dances in Scotland is mentioned in the Scotichronicon
which was compiled in Scotland by Walter Bower in the 1440s. The passage regards Alexander III
and his second marriage to the French noblewoman Yolande de Dreux at Jedburgh
on 14 October 1285. "At the head of this procession were the skilled musicians with many sorts of pipe music including the music of bagpipes, and behind them others splendidly performing a war-dance with intricate weaving in and out. Bringing up the rear was a figure regarding whom it was difficult to decide whether it was a man or an apparition. It seemed to glide like a ghost rather than walk on feet. When it looked as if he was disappearing from everyone's sight, the whole frenzied procession halted, the song died away, the music faded, and the dancing contingent froze suddenly and unexpectantly."
In 1573 Scottish mercenaries are said to have performed a Scottish sword dance
before the Swedish King, John III, at a banquet held in Stockholm Castle. The dance, 'a natural feature of the festivities', was used as part of a plot to assassinate the King, where the conspirators were able to bare their weapons without arising suspicion. Fortunately for the King, at the decisive moment the agreed signal was never given.
"Sword dance and Hieland Danses" were included at a reception for Anne of Denmark
at Edinburgh in 1589 and a mixture of sword dance and acrobatics was performed before James VI in 1617 (New Statistical Account of Scotland Edinb. 1845 x, pp. 44–45) and again for Charles I in 1633, by the Incorporation of Skinners and Glovers of Perth, "his Majesty's chair being set upon the wall next to the Water of Tay whereupon was a floating stage of timber clad about with birks, upon the which for his Majesty's welcome and entry thirteen of our brethren of this calling of Glovers with green caps, silver strings, red ribbons, white shoes and bells upon their legs, shearing rapiers in their hands and all other abulzements, danced our sword dance with many difficult knots and allapallajesse, five being under and five above upon their shoulders, three of them dancing through their feet and about them, drinking wine and breaking glasses. Which (God be praised) was acted and done without hurt or skaith to any."
The British central government's policy of cultural suppression against Highland culture culminated in 1747 when the Act of Proscription, which forbade the wearing of kilt
s by civilian males, went into effect. The Act was repealed in 1782 and in the early 19th century, there was something of a romanticisation of Highland culture (or such as it was imagined to be). This revival, later boosted greatly by Queen Victoria
's enthusiasm for it, included the beginnings of the Highland games
as we now know them. Highland dancing was an integral part of the Games from the very start of their modern revival, but the selection of dances performed at Games was intentionally narrowed down, mostly for the convenience of judges. Therefore, while the tradition of Highland games seemed at first glance to have fostered and preserved Highland dancing, many older dances got lost because nobody considered them worthwhile to practice, as they were not required for competition. The nature of these displays and competitions also affected the style of the dancing itself.
At Highland games, the Highland dances were at first danced only by men. Women would take part in social dances, and girls did learn solo dances as part of their general dance classes. In fact, dancing masters would often encourage their most promising students (male or female) to perform solo dances at their end-of-term "assemblies".
In the late 19th century a young woman named Jenny Douglas
decided to enter a Highland dance competition. As this was not expressly forbidden, she was allowed to enter. Since then the number of females participating in the sport has increased until today in excess of 95% of all dancers are female. There have been several female World Champions crowned at the Cowal Gathering since they began organising the competition in 1948. The first American to win the Adult World Championship was Hugh Bigney, who won the title in 1972. Indeed the first three Adult World Championships were won by ladies: May Falconer (1948), Margaret Samson (1949 and 1950). This feminisation of folk arts is a common pattern in the process of their "gentrification", especially after they no longer serve a functional role in a male-centred, warrior culture.
Males are still well represented at the world championships. Dancers such as David Wilton, Tony Cargill
, and Deryck Mitchelson have all recently won the world championships.http://www.cowalgathering.com/events/highlanddancing/prevchamp.asp
since 1934. Today this World Championship is sanctioned by the SOBHD at three levels: Juvenile, Junior and Adult.
The SOBHD is generally recognised by the majority of competitive Highland dancers as the world governing body of Highland Dancing. It is responsible for the standardisation of Highland Dancing around the world. It is made up of representatives from many different Highland Dancing bodies and associations from around the world. The main function of the SOBHD is to bring about co-operation between recognised associations, organisations, individuals, and dancers connected with Highland Dancing.
The board sanctions Highland Dance championships although does not actually organise any of them. There are other non-SOBHD sanctioned championships run by non-SOBHD aligned organisations at which registered SOBHD dancers are forbidden to take part. Similarly dancers not registered with the SOBHD cannot dance at SOBHD sanctioned competitions. This has and continues to cause some confusion for dancers. Each year the SOBHD selects the championship steps to be performed by dancers at championships around the world. They also publish an official Highland Dance technique book for dancers and teachers.
The Board comprises delegates from the Examining Bodies (professional teaching associations), Affiliated Organisations in Australia (Australian Board of Highland Dancing Inc.), Canada (ScotDance Canada), South Africa (Official Board of Highland Dancing (South Africa)), New Zealand (ScotDance New Zealand), and the United States (Federation of United States Teachers and Adjudicators) which represent the many Highland Dance organisations in those countries. Representatives of organisations in the UK, a limited number of Competition Organisations, Independent Members, and Honorary Members also have vo
The various governing bodies of Highland dancing establish parameters for the dances themselves and scoring systems to grade the dancers and determine their class and progress from one class to another. The scoring system for these competitions begins with each dancer starting with 100 points. For any mistakes, poor execution, etc., results in subtraction of points at the judges discretion. The dancers are then ranked from most to least points, and medals and points are given based on the number of dancers in the class.
The notion of how dances were to be executed changed dramatically over the years. For instance, doing an early-20th-century-style Sword Dance in a competition today would get a dancer disqualified nearly immediately. There used to be terrible confusion as to what would be allowed (or prescribed) where, until the SOBHD came up with a standard that has become acceptable to the majority of competitive dancers.
In another version of Scottish sword dancing, the Highlander danced on a targe shield, this has similarities with an ancient Roman exercise in which the man standing on a shield had to defend himself and stay upright while others tried to pull it out from under him. Many of the Highland dances now lost to us were once performed with traditional weapons that included the Lochaber axe, the broadsword, targe & dirk and the flail, the old Skye dancing song, "Buailidh mi thu anns a' cheann," (I will strike your head) indicate some form of weapon play to music, 'breaking the head' was the winning blow in cudgelling matches throughout Britain, "for the moment that blood runs an inch anywhere above the eyebrow, the old gamester to whom it belongs is beaten, and has to stop."
The Highland Dirk Dance
, in which the dancer flourishes the weapon, is often linked to the sword dance or dances called ‘Mac an Fhorsair,’ (literally, "the son of the Forester"), the ‘Broad Sword Exercise’ or the “Bruicheath” (Battle Dance). They are mentioned in a number of sources, usually military, and may have been performed in a variety of different forms, practiced by two performers in a duelling form, or as a solo routine.
The tune of Gille Chaluim (Anglicized as "Gillie Callum" and meaning "the servant of Calum" in Gaelic) has been claimed to date back to Malcolm III of Scotland
(11c.) but the dance is unlikely to have been invented before 1800. According to one tradition, the crossed swords were supposedly placed on the ground before a battle while a soldier danced around the blades. If his feet knocked against the swords, he would be wounded in battle. This may derive from the folklore often surrounding warrior culture.
One theory about the Highland Fling
is that it was a dance of triumph at the end of a battle. Another (no less romantic) theory is that it was performed before battles (like the sword dance), on top of the dancer's shield. The shield would have a spike in the middle, around which the dancer would do the dance that involves flicking of the feet, jumping and careful stepping supposedly to drive evil spirits away. The dancer is confined to one spot and snaps his fingers (which was reduced in recent times to merely holding the hands with the thumb touching the second joint of the middle finger, and the other three fingers extended in the air). Leaving aside the obvious difficulty of dancing around a sharpened spike on a shield, a much more plausible theory is that the Highland Fling is none other than a Foursome Reel with the progressive bits left out - at social gatherings, dancers would "compete" by showing off the fancy solo steps they could perform, long before formal competitions at highland games had been invented.
Another story behind the Fling is that it is meant to imitate a stag; the story goes that a boy who saw a stag was asked to describe it by his father. He lacked the words, so danced instead; the position of the hands resembles the head and antlers of a stag. Tulloch is a village in the North-East of Scotland. Ruidhle Thulaichean (Anglicized as "The Reel of Tulloch") is supposed to have originated when a congregation had to wait at a church for a minister on a cold wedding day. During the delay they whistled a highland tune while someone improvised a dance. A more gruesome version of the story is that the dance derives from a rough game of football that the inhabitants of Tulloch played with the severed head of an enemy; the Gaelic words to the tune bear this out.
The Seann Triubhas
is romantically associated with the proscription of Highland garb after the 1745 rebellion. The steps involve much shaking of the legs, symbolic of shedding the dreaded "trewes"; the final, faster step(s) show the joy of returning to the kilt. However, the dance is considerably younger, with most of the steps performed today dating from the late 19th century. Like other dance traditions, what is called "Highland dancing" is a hybrid form that has been constantly changing according to contemporary aesthetics and interpretations of the past. While some elements may be centuries old, other elements are much more modern. The vast majority of dances now performed were composed in the last century.
As far as competitions were concerned, until 1986 there were only four standard dances - The Sword Dance, The Seann Triubhas, The Reel of Tulloch and The Highland Fling. Since then, various other (pre-existing) dances have been added to the competition repertoire. For example, there are two "character dances", "The Sailor's Hornpipe" and "The Irish Jig". The Sailor's Hornpipe was adapted from an English dance, which is now performed more frequently in Scotland, while the Irish Jig is a humorous caricature of, and tribute to, Irish stepdancing
(the dancer, in a red and green costume, is an interpretation of an Irish person, gesturing angrily and frowning). If the Irish Jig is danced by a woman or girl, it is about either the distressed wife scolding her husband, a woman being tormented by leprechaun
s, or a washerwoman chasing taunting boys (or children in general) away who have dirtied her washing - the showing of the woman's fist symbolizes her wanting to beat up the children, the leprechauns, or the husband. If it is danced by a man or boy, it is the story of Paddy's Leather Breeches, in which a careless washerwoman has shrunk Paddy
's fine leather breeches
and he is waving his shillelagh
at her in anger and showing his fist, intending to hit her. The Hornpipe mimics a sailor
in her majesty's navy doing work aboard ship: hauling rope, sliding on the rollicking deck, and getting his paycheck
, and has quite a lot of detail involved that portrays the character (e.g. the dancer does not touch his palms, assumed to be dirty, on his uniform).
Perhaps one of the most unusual elements of character dance done at modern Highland dance competitions is the inclusion of the cakewalk. The cakewalk is originally a dance performed by black slaves in the southern US imitating, in exaggerated style, the stately courtship ballroom dancing of slave owners. It is unique in competitive Highland Dance as it is the only dance always performed as a duo and is the only dance that originated outside the British Isles. Also unique is the inclusion of fanciful and often outrageous costumes upon which some of the judging of artistry is based. While costume contests do occasionally take place regarding the outfits worn for the other dances, the outfits for those dances are so carefully prescribed (differences are restricted primarily to choice of tartan, color of jackets or sashes, and choices such as lace sleeves and velvet vests instead of velvet jackets) costume does not play a significant role in the dance competition or vary much across dancers. In contrast, while the cakewalk may be danced in traditional Scottish attire, dancers involved in the cakewalk often attempt to come up with the most creative duo costume they can, such as Frankstein and his bride or Mickey and Minnie Mouse. The cakewalk is generally only danced at very large scale competitions such as national or provincial championships and is generally restricted to the top level of competitive dancers known as "premier" (formerly "open".)
The inclusion of the cakewalk in competitive Highland Dance is credited to famed dancer, judge and examiner, James L. McKenzie and the dance now performed in competition was choreographed by Miss Elspeth Strathern is his honor. It is a favorite dance among competitive dancers and competition audiences alike for the colorful costumes and artistry. The Cakewalk is generally performed to "Whistling Rufus" Written in 1899 by Kerry Mills.
At Highland games, the National Dances are something of a novelty display event and include the Scottish Lilt, the Earl of Erroll
, Blue Bonnets, Hielan' Laddie
, the Scotch Measure, Flora MacDonald's Fancy, The Village Maid and Wilt thou go to the barracks, Johnny?
, which illustrate the history of dancing and other aspects of Scottish culture and history. Their character varies wildly and not all of these dances are suitable for execution using standard competitive technique and styling. Most of the National Dances were invented by dancing masters in the 19th century and show a more or less pronounced balletic influence, while others derive from earlier traditions and were adapted to later tastes. The "Earl of Erroll", for example, is almost certainly based on an 18th-century Irish-style hard shoe dance, although today's Highland dancers perform it in the usual Ghillies
.
The National dances were invented to be danced by women, as women were not originally allowed to dance the Highland dances and wear the kilt. Instead, they danced the National dances, which are softer and more ballet-like, and the outfit usually worn is called an "Aboyne" (after the Aboyne Highland Games, where women are not allowed to wear kilts for dancing to this day). The outfit consists of a full tartan skirt, white blouse, a velvet vest laced up the front, and a "plaid" or "plaidie" pinned to the shoulder and waist. As well, dancers may choose to wear a decorative brooch to pin their plaidie to their shoulder. Another option for the National dances is to wear a white dress with a plaid on the shoulder. Nowadays, males and females dance both Highland and National dances (males have the option of wearing plaid "trews
" (trousers
) instead of a kilt for the National dances).
National Dances
Character Dances
Competitive dance
Competitive dance is a popular, widespread activity in which competitors perform dances in any of several permitted dance styles—such as acro, ballet, jazz, hip-hop, lyrical, modern, and tap—before a common group of judges...
solo dancing which developed in the Gaelic
Gaels
The Gaels or Goidels are speakers of one of the Goidelic Celtic languages: Irish, Scottish Gaelic, and Manx. Goidelic speech originated in Ireland and subsequently spread to western and northern Scotland and the Isle of Man....
Highlands
Scottish Highlands
The Highlands is an historic region of Scotland. The area is sometimes referred to as the "Scottish Highlands". It was culturally distinguishable from the Lowlands from the later Middle Ages into the modern period, when Lowland Scots replaced Scottish Gaelic throughout most of the Lowlands...
of Scotland
Scotland
Scotland is a country that is part of the United Kingdom. Occupying the northern third of the island of Great Britain, it shares a border with England to the south and is bounded by the North Sea to the east, the Atlantic Ocean to the north and west, and the North Channel and Irish Sea to the...
. Highland dance evolved into its current form during the nineteenth and twentieth centuries in the context of competitions at public events (namely Highland games
Highland games
Highland games are events held throughout the &Highland games are events held throughout the &Highland games are events held throughout the &(-è_çà in Scotland and other countries as a way of celebrating Scottish and Celtic culture and heritage, especially that of the Scottish Highlands. Certain...
), where it is often performed to the accompaniment of Highland bagpipe
Great Highland Bagpipe
The Great Highland Bagpipe is a type of bagpipe native to Scotland. It has achieved widespread recognition through its usage in the British military and in pipe bands throughout the world. It is closely related to the Great Irish Warpipes....
music. Highland dancers wear specialized shoes called ghillies
Ghillies (dance)
Ghillies are specially designed shoes used for several types of dance. They are soft shoes, similar to ballet shoes. They are used by women in Irish dance, by men in Scottish country dance, and by men and women in Highland dance....
.
Highland dance has been subject to many influences from outside the Highlands. For example, it has been heavily influenced by the urban aesthetics
Aesthetics
Aesthetics is a branch of philosophy dealing with the nature of beauty, art, and taste, and with the creation and appreciation of beauty. It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste...
of the patrons and judges of dance competitions since the nineteenth century.
Highland dance should not be confused with Scottish country dance
Scottish country dance
A Scottish country dance is a form of social dance involving groups of mixed couples of dancers tracing progressive patterns according to a predetermined choreography...
.
Basic description of Highland dancing
Nowadays, Highland dancing, which can be seen at nearly every modern day Highland games event, is a highly competitive and technical dance form that requires many hours of practice and training over a period of several years to perfect. In terms of its technical requirements and the training required for its performance, Highland dancing has much in common with balletBallet
Ballet is a type of performance dance, that originated in the Italian Renaissance courts of the 15th century, and which was further developed in France and Russia as a concert dance form. The early portions preceded the invention of the proscenium stage and were presented in large chambers with...
. It takes a massive amount of stamina and arm/leg strength, no matter how old the dancer is. Highland Dance is recognised as a sport by the Sport Council of Scotland.
In Highland dancing, in contrast to, say, ballroom dancing, the dancers dance on the balls of the feet. In many ways, Highland dancing evolved from solo step dancing, but while some forms of step dancing are purely percussive in nature, Highland dancing involves not only a combination of steps but also some integral upper body, arm, and hand movements. Even so, it is still considered a form of step dancing in that the main element of Highland dancing is concerned with footwork.
Highland dancing should not be confused with Scottish country dancing
Scottish country dance
A Scottish country dance is a form of social dance involving groups of mixed couples of dancers tracing progressive patterns according to a predetermined choreography...
which is both a social dance
Social dance
Social dance is a major category or classification of danceforms or dance styles, where sociability and socializing are the primary focuses of the dancing...
(that is, a dance which is danced with a partner or partners) like ballroom dancing, and a formation dance
Formation dance
Formation dance is a style of ballroom dancing. It is pattern or shadow team dancing by couples in a formation team. The choreography may be based on a particular dance or a medley of dances...
(that is, a dance in which an important element is the pattern of group movement about the dance floor) like square dancing.
Some Highland dances do derive from traditional social dances, however. An example is the Highland Reel, also known as the Foursome Reel, in which groups of four dancers alternate between solo steps facing one another and a figure-of-eight style with intertwining progressive movement. Even so, in competitions, the Highland Reel dancers are judged individually. Most Highland dances are done solo.
History
It seems that forms of sword dancingSword dance
Sword dances are recorded from throughout world history. There are various traditions of solo and mock battle sword dances from Greece, the Middle East, Pakistan, India, China, Korea, England, Scotland and Japan...
were performed by warriors in many parts of Europe
Europe
Europe is, by convention, one of the world's seven continents. Comprising the westernmost peninsula of Eurasia, Europe is generally 'divided' from Asia to its east by the watershed divides of the Ural and Caucasus Mountains, the Ural River, the Caspian and Black Seas, and the waterways connecting...
in the prehistoric period. Forms of sword dancing are also attested in the late Medieval period. Ritualistic and combative dances that imitated epic deeds and martial skills were a familiar feature in Scottish tradition and folklore. The earliest reference to these dances in Scotland is mentioned in the Scotichronicon
Scotichronicon
The Scotichronicon is a 15th-century chronicle or legendary account, by the Scottish historian Walter Bower. It is a continuation of historian-priest John of Fordun's earlier work Chronica Gentis Scotorum beginning with the founding of Scotland of mediaeval legend, by Scota with Goídel...
which was compiled in Scotland by Walter Bower in the 1440s. The passage regards Alexander III
Alexander III of Scotland
Alexander III was King of Scots from 1249 to his death.-Life:...
and his second marriage to the French noblewoman Yolande de Dreux at Jedburgh
Jedburgh
Jedburgh is a town and former royal burgh in the Scottish Borders and historically in Roxburghshire.-Location:Jedburgh lies on the Jed Water, a tributary of the River Teviot, it is only ten miles from the border with England and is dominated by the substantial ruins of Jedburgh Abbey...
on 14 October 1285. "At the head of this procession were the skilled musicians with many sorts of pipe music including the music of bagpipes, and behind them others splendidly performing a war-dance with intricate weaving in and out. Bringing up the rear was a figure regarding whom it was difficult to decide whether it was a man or an apparition. It seemed to glide like a ghost rather than walk on feet. When it looked as if he was disappearing from everyone's sight, the whole frenzied procession halted, the song died away, the music faded, and the dancing contingent froze suddenly and unexpectantly."
In 1573 Scottish mercenaries are said to have performed a Scottish sword dance
Scottish sword dances
Performance of sword dances in the folklore of Scotland is recorded from as early as the 15th century.Related customs are found in the Welsh and English Morris dance, in Austria, Germany, Flanders, France, Italy, Spain, Portugal and Romania...
before the Swedish King, John III, at a banquet held in Stockholm Castle. The dance, 'a natural feature of the festivities', was used as part of a plot to assassinate the King, where the conspirators were able to bare their weapons without arising suspicion. Fortunately for the King, at the decisive moment the agreed signal was never given.
"Sword dance and Hieland Danses" were included at a reception for Anne of Denmark
Anne of Denmark
Anne of Denmark was queen consort of Scotland, England, and Ireland as the wife of King James VI and I.The second daughter of King Frederick II of Denmark, Anne married James in 1589 at the age of fourteen and bore him three children who survived infancy, including the future Charles I...
at Edinburgh in 1589 and a mixture of sword dance and acrobatics was performed before James VI in 1617 (New Statistical Account of Scotland Edinb. 1845 x, pp. 44–45) and again for Charles I in 1633, by the Incorporation of Skinners and Glovers of Perth, "his Majesty's chair being set upon the wall next to the Water of Tay whereupon was a floating stage of timber clad about with birks, upon the which for his Majesty's welcome and entry thirteen of our brethren of this calling of Glovers with green caps, silver strings, red ribbons, white shoes and bells upon their legs, shearing rapiers in their hands and all other abulzements, danced our sword dance with many difficult knots and allapallajesse, five being under and five above upon their shoulders, three of them dancing through their feet and about them, drinking wine and breaking glasses. Which (God be praised) was acted and done without hurt or skaith to any."
The British central government's policy of cultural suppression against Highland culture culminated in 1747 when the Act of Proscription, which forbade the wearing of kilt
Kilt
The kilt is a knee-length garment with pleats at the rear, originating in the traditional dress of men and boys in the Scottish Highlands of the 16th century. Since the 19th century it has become associated with the wider culture of Scotland in general, or with Celtic heritage even more broadly...
s by civilian males, went into effect. The Act was repealed in 1782 and in the early 19th century, there was something of a romanticisation of Highland culture (or such as it was imagined to be). This revival, later boosted greatly by Queen Victoria
Victoria of the United Kingdom
Victoria was the monarch of the United Kingdom of Great Britain and Ireland from 20 June 1837 until her death. From 1 May 1876, she used the additional title of Empress of India....
's enthusiasm for it, included the beginnings of the Highland games
Highland games
Highland games are events held throughout the &Highland games are events held throughout the &Highland games are events held throughout the &(-è_çà in Scotland and other countries as a way of celebrating Scottish and Celtic culture and heritage, especially that of the Scottish Highlands. Certain...
as we now know them. Highland dancing was an integral part of the Games from the very start of their modern revival, but the selection of dances performed at Games was intentionally narrowed down, mostly for the convenience of judges. Therefore, while the tradition of Highland games seemed at first glance to have fostered and preserved Highland dancing, many older dances got lost because nobody considered them worthwhile to practice, as they were not required for competition. The nature of these displays and competitions also affected the style of the dancing itself.
At Highland games, the Highland dances were at first danced only by men. Women would take part in social dances, and girls did learn solo dances as part of their general dance classes. In fact, dancing masters would often encourage their most promising students (male or female) to perform solo dances at their end-of-term "assemblies".
In the late 19th century a young woman named Jenny Douglas
Jenny Douglas
Jenny Douglas is a Scottish singer and actress. Douglas is most noted for her participation in the 2010 BBC talent-search Over the Rainbow.-Background:...
decided to enter a Highland dance competition. As this was not expressly forbidden, she was allowed to enter. Since then the number of females participating in the sport has increased until today in excess of 95% of all dancers are female. There have been several female World Champions crowned at the Cowal Gathering since they began organising the competition in 1948. The first American to win the Adult World Championship was Hugh Bigney, who won the title in 1972. Indeed the first three Adult World Championships were won by ladies: May Falconer (1948), Margaret Samson (1949 and 1950). This feminisation of folk arts is a common pattern in the process of their "gentrification", especially after they no longer serve a functional role in a male-centred, warrior culture.
Males are still well represented at the world championships. Dancers such as David Wilton, Tony Cargill
Tony Cargill
Tony Cargill is a former multiple time World Champion in Highland Dancing. He was also a Scottish professional football player. He grew up in Arbroath, Scotland. He currently lives in Summerside, Prince Edward Island, Canada where he used to teach highland dancing at the College of Piping and...
, and Deryck Mitchelson have all recently won the world championships.http://www.cowalgathering.com/events/highlanddancing/prevchamp.asp
Organization
Many if not most Highland gatherings worldwide, recognise the Scottish Official Board of Highland Dancing (SOBHD), formed in 1950, as the world governing body of Highland dancing. The SOBHD standardised dance steps for competition purposes, established rules for competitions and attire, and certifies competitions and instructors and the like. A World Highland Dance Championship has been held annually at the Cowal Highland GatheringCowal Highland Gathering
The Cowal Highland Gathering is an annual Highland games event held in the Scottish town of Dunoon, Argyll, over the final weekend in August.-History:...
since 1934. Today this World Championship is sanctioned by the SOBHD at three levels: Juvenile, Junior and Adult.
The SOBHD is generally recognised by the majority of competitive Highland dancers as the world governing body of Highland Dancing. It is responsible for the standardisation of Highland Dancing around the world. It is made up of representatives from many different Highland Dancing bodies and associations from around the world. The main function of the SOBHD is to bring about co-operation between recognised associations, organisations, individuals, and dancers connected with Highland Dancing.
The board sanctions Highland Dance championships although does not actually organise any of them. There are other non-SOBHD sanctioned championships run by non-SOBHD aligned organisations at which registered SOBHD dancers are forbidden to take part. Similarly dancers not registered with the SOBHD cannot dance at SOBHD sanctioned competitions. This has and continues to cause some confusion for dancers. Each year the SOBHD selects the championship steps to be performed by dancers at championships around the world. They also publish an official Highland Dance technique book for dancers and teachers.
The Board comprises delegates from the Examining Bodies (professional teaching associations), Affiliated Organisations in Australia (Australian Board of Highland Dancing Inc.), Canada (ScotDance Canada), South Africa (Official Board of Highland Dancing (South Africa)), New Zealand (ScotDance New Zealand), and the United States (Federation of United States Teachers and Adjudicators) which represent the many Highland Dance organisations in those countries. Representatives of organisations in the UK, a limited number of Competition Organisations, Independent Members, and Honorary Members also have vo
Judging
Most judges evaluate a dancer on three major criteria: timing, technique, and interpretation/overall deportment.- Timing concerns the ability of the dancer to follow the rhythm of the music.
- Technique has to do with the correct execution of the steps in coordination with the movements of the rest of the body, including head, arm and hand movements.
- Artistic interpretation covers that essential element of all dance and artistry in general which cannot be quantified or reduced to any set of rules or specific points, but which does concern the ability of the dancer or performer to convey a sense of feeling, understanding, and appreciation of the art form.
- The ability of the dancer including the jumping height and the confidence.
The various governing bodies of Highland dancing establish parameters for the dances themselves and scoring systems to grade the dancers and determine their class and progress from one class to another. The scoring system for these competitions begins with each dancer starting with 100 points. For any mistakes, poor execution, etc., results in subtraction of points at the judges discretion. The dancers are then ranked from most to least points, and medals and points are given based on the number of dancers in the class.
The notion of how dances were to be executed changed dramatically over the years. For instance, doing an early-20th-century-style Sword Dance in a competition today would get a dancer disqualified nearly immediately. There used to be terrible confusion as to what would be allowed (or prescribed) where, until the SOBHD came up with a standard that has become acceptable to the majority of competitive dancers.
Highland dances
The Highlander developed “as a necessary preparation for the management of the broad-sword… used in certain dances to exhibit their dexterity” (Logan, James. The Scottish Gael p. 440) this included dancing over two naked swords which are laid across each other on the floor, some while a dancer moves nimbly around them. Dextrously placing the feet by a peculiar step in the intervals between crossed blades, as in the Ghillie Chalum, has long been linked with dances before a decisive battle or as a victory dance. Legend has it that on the eve of battle the highland chief would call out the clan’s best dancers, who would dance the sword dance. If the dancers successfully avoided touching either blade, then it was considered an omen that the next day's battle would be in the clan’s favour. A more practical explanation behind the meaning of this dance can be found in the training halls of older styles of fencing, where students of the sword developed their footwork by following geometric patterns of crosses, squares and triangles marked out on the floor.In another version of Scottish sword dancing, the Highlander danced on a targe shield, this has similarities with an ancient Roman exercise in which the man standing on a shield had to defend himself and stay upright while others tried to pull it out from under him. Many of the Highland dances now lost to us were once performed with traditional weapons that included the Lochaber axe, the broadsword, targe & dirk and the flail, the old Skye dancing song, "Buailidh mi thu anns a' cheann," (I will strike your head) indicate some form of weapon play to music, 'breaking the head' was the winning blow in cudgelling matches throughout Britain, "for the moment that blood runs an inch anywhere above the eyebrow, the old gamester to whom it belongs is beaten, and has to stop."
The Highland Dirk Dance
Dirk dance
A dirk dance is a Scottish dance performed while brandishing a dirk . It is a solo dance but can be performed by two or more people dancing in unison. The dance is quite different in style from the better known Highland dances and in many ways imitates the use of a dirk in fighting...
, in which the dancer flourishes the weapon, is often linked to the sword dance or dances called ‘Mac an Fhorsair,’ (literally, "the son of the Forester"), the ‘Broad Sword Exercise’ or the “Bruicheath” (Battle Dance). They are mentioned in a number of sources, usually military, and may have been performed in a variety of different forms, practiced by two performers in a duelling form, or as a solo routine.
The tune of Gille Chaluim (Anglicized as "Gillie Callum" and meaning "the servant of Calum" in Gaelic) has been claimed to date back to Malcolm III of Scotland
Malcolm III of Scotland
Máel Coluim mac Donnchada , was King of Scots...
(11c.) but the dance is unlikely to have been invented before 1800. According to one tradition, the crossed swords were supposedly placed on the ground before a battle while a soldier danced around the blades. If his feet knocked against the swords, he would be wounded in battle. This may derive from the folklore often surrounding warrior culture.
One theory about the Highland Fling
Highland Fling
This dance is now performed at dance competitions and events around the world. It is no longer danced on a shield, but it is still the goal of the dancer to stay in the same spot throughout the dance. The Highland Fling is danced at almost all competition levels, from Primary to Premier. It is also...
is that it was a dance of triumph at the end of a battle. Another (no less romantic) theory is that it was performed before battles (like the sword dance), on top of the dancer's shield. The shield would have a spike in the middle, around which the dancer would do the dance that involves flicking of the feet, jumping and careful stepping supposedly to drive evil spirits away. The dancer is confined to one spot and snaps his fingers (which was reduced in recent times to merely holding the hands with the thumb touching the second joint of the middle finger, and the other three fingers extended in the air). Leaving aside the obvious difficulty of dancing around a sharpened spike on a shield, a much more plausible theory is that the Highland Fling is none other than a Foursome Reel with the progressive bits left out - at social gatherings, dancers would "compete" by showing off the fancy solo steps they could perform, long before formal competitions at highland games had been invented.
Another story behind the Fling is that it is meant to imitate a stag; the story goes that a boy who saw a stag was asked to describe it by his father. He lacked the words, so danced instead; the position of the hands resembles the head and antlers of a stag. Tulloch is a village in the North-East of Scotland. Ruidhle Thulaichean (Anglicized as "The Reel of Tulloch") is supposed to have originated when a congregation had to wait at a church for a minister on a cold wedding day. During the delay they whistled a highland tune while someone improvised a dance. A more gruesome version of the story is that the dance derives from a rough game of football that the inhabitants of Tulloch played with the severed head of an enemy; the Gaelic words to the tune bear this out.
The Seann Triubhas
Seann Triubhas
The Seann Triubhas is a Highland Dance that is believed to have originated from the rebellion of 1745, when England banned the Highlanders from wearing kilts. It is pronounced 'shenn troovass'....
is romantically associated with the proscription of Highland garb after the 1745 rebellion. The steps involve much shaking of the legs, symbolic of shedding the dreaded "trewes"; the final, faster step(s) show the joy of returning to the kilt. However, the dance is considerably younger, with most of the steps performed today dating from the late 19th century. Like other dance traditions, what is called "Highland dancing" is a hybrid form that has been constantly changing according to contemporary aesthetics and interpretations of the past. While some elements may be centuries old, other elements are much more modern. The vast majority of dances now performed were composed in the last century.
Character and national dances
Irish stepdance
Irish stepdance is a type of performance dance originated in Ireland from traditional Irish dance, characterised by solo dancers who dance with hands by their sides and upper body stiff, making quick, intricate movements of the feet, often with a troupe. Irish stepdancing was popularized by the...
(the dancer, in a red and green costume, is an interpretation of an Irish person, gesturing angrily and frowning). If the Irish Jig is danced by a woman or girl, it is about either the distressed wife scolding her husband, a woman being tormented by leprechaun
Leprechaun
A leprechaun is a type of fairy in Irish folklore, usually taking the form of an old man, clad in a red or green coat, who enjoys partaking in mischief. Like other fairy creatures, leprechauns have been linked to the Tuatha Dé Danann of Irish mythology...
s, or a washerwoman chasing taunting boys (or children in general) away who have dirtied her washing - the showing of the woman's fist symbolizes her wanting to beat up the children, the leprechauns, or the husband. If it is danced by a man or boy, it is the story of Paddy's Leather Breeches, in which a careless washerwoman has shrunk Paddy
Irish people
The Irish people are an ethnic group who originate in Ireland, an island in northwestern Europe. Ireland has been populated for around 9,000 years , with the Irish people's earliest ancestors recorded having legends of being descended from groups such as the Nemedians, Fomorians, Fir Bolg, Tuatha...
's fine leather breeches
Breeches
Breeches are an item of clothing covering the body from the waist down, with separate coverings for each leg, usually stopping just below the knee, though in some cases reaching to the ankles...
and he is waving his shillelagh
Shillelagh
The word shillelagh can mean:* Shillelagh , a type of hand weapon* Shillelagh, County Wicklow, a town in Ireland* The MGM-51 Shillelagh missile* Shillelagh, the code name for Source Mage GNU/Linux 0.5* It's the Same Old Shillelagh, an Irish song...
at her in anger and showing his fist, intending to hit her. The Hornpipe mimics a sailor
Sailor
A sailor, mariner, or seaman is a person who navigates water-borne vessels or assists in their operation, maintenance, or service. The term can apply to professional mariners, military personnel, and recreational sailors as well as a plethora of other uses...
in her majesty's navy doing work aboard ship: hauling rope, sliding on the rollicking deck, and getting his paycheck
Paycheck
Paycheck can also refer to:* Paycheck , short story by science fiction author Philip K. Dick* Paycheck , film adaptation of the Philip K. Dick short story starring Ben Affleck...
, and has quite a lot of detail involved that portrays the character (e.g. the dancer does not touch his palms, assumed to be dirty, on his uniform).
Perhaps one of the most unusual elements of character dance done at modern Highland dance competitions is the inclusion of the cakewalk. The cakewalk is originally a dance performed by black slaves in the southern US imitating, in exaggerated style, the stately courtship ballroom dancing of slave owners. It is unique in competitive Highland Dance as it is the only dance always performed as a duo and is the only dance that originated outside the British Isles. Also unique is the inclusion of fanciful and often outrageous costumes upon which some of the judging of artistry is based. While costume contests do occasionally take place regarding the outfits worn for the other dances, the outfits for those dances are so carefully prescribed (differences are restricted primarily to choice of tartan, color of jackets or sashes, and choices such as lace sleeves and velvet vests instead of velvet jackets) costume does not play a significant role in the dance competition or vary much across dancers. In contrast, while the cakewalk may be danced in traditional Scottish attire, dancers involved in the cakewalk often attempt to come up with the most creative duo costume they can, such as Frankstein and his bride or Mickey and Minnie Mouse. The cakewalk is generally only danced at very large scale competitions such as national or provincial championships and is generally restricted to the top level of competitive dancers known as "premier" (formerly "open".)
The inclusion of the cakewalk in competitive Highland Dance is credited to famed dancer, judge and examiner, James L. McKenzie and the dance now performed in competition was choreographed by Miss Elspeth Strathern is his honor. It is a favorite dance among competitive dancers and competition audiences alike for the colorful costumes and artistry. The Cakewalk is generally performed to "Whistling Rufus" Written in 1899 by Kerry Mills.
At Highland games, the National Dances are something of a novelty display event and include the Scottish Lilt, the Earl of Erroll
Earl of Erroll
The Earl of Erroll is an ancient title in the Peerage of Scotland. It was created in 1453 for Sir William Hay.The subsidiary titles held by the Earl of Erroll are Lord Hay and Lord Slains , both in the Peerage of Scotland. The Earls of Erroll also hold the hereditary office of Lord High Constable...
, Blue Bonnets, Hielan' Laddie
Highland Laddie
Highland Laddie, also known as Hielan' Laddie, is the name of an ancient Scottish popular folk tune If thou'lt play me fair play, but as with many old melodies, various sets of words can be sung to it and Robert Burns' poem 'Highland Laddie, Highland Lassie' has been the most memorable...
, the Scotch Measure, Flora MacDonald's Fancy, The Village Maid and Wilt thou go to the barracks, Johnny?
Wilt thou go to the barracks, Johnny?
Wilt thou go to the barracks, Johnny? is a national dance in Highland dancing, and was originally a recruitment dance for the Scottish Army. It is usually performed wearing the highland dance costume , though rarely in competitions...
, which illustrate the history of dancing and other aspects of Scottish culture and history. Their character varies wildly and not all of these dances are suitable for execution using standard competitive technique and styling. Most of the National Dances were invented by dancing masters in the 19th century and show a more or less pronounced balletic influence, while others derive from earlier traditions and were adapted to later tastes. The "Earl of Erroll", for example, is almost certainly based on an 18th-century Irish-style hard shoe dance, although today's Highland dancers perform it in the usual Ghillies
Ghillies (dance)
Ghillies are specially designed shoes used for several types of dance. They are soft shoes, similar to ballet shoes. They are used by women in Irish dance, by men in Scottish country dance, and by men and women in Highland dance....
.
The National dances were invented to be danced by women, as women were not originally allowed to dance the Highland dances and wear the kilt. Instead, they danced the National dances, which are softer and more ballet-like, and the outfit usually worn is called an "Aboyne" (after the Aboyne Highland Games, where women are not allowed to wear kilts for dancing to this day). The outfit consists of a full tartan skirt, white blouse, a velvet vest laced up the front, and a "plaid" or "plaidie" pinned to the shoulder and waist. As well, dancers may choose to wear a decorative brooch to pin their plaidie to their shoulder. Another option for the National dances is to wear a white dress with a plaid on the shoulder. Nowadays, males and females dance both Highland and National dances (males have the option of wearing plaid "trews
Trews
Trews are men's clothing for the legs and lower abdomen, a traditional form of tartan trousers from Scottish apparel...
" (trousers
Trousers
Trousers are an item of clothing worn on the lower part of the body from the waist to the ankles, covering both legs separately...
) instead of a kilt for the National dances).
List
Highland Dances- Pas de BasquesPas de BasquesIn Highland dance, a pas de basques is described as follows:Prepare with an extension of the working foot to second aerial position low. Spring to that side, bringing the new working foot into third or fifth position on the half point...
- Pas de Basques and HighcutsPas de Basques and HighcutsPas de Basques and Highcuts is one of the first dances taught in Highland Dance. This dance is exactly the same as the first step of the Sword Dance, but is danced to the front, without the use of swords. It is usually taught to young dancers who are not yet prepared to learn the entire Sword...
- Highland FlingHighland FlingThis dance is now performed at dance competitions and events around the world. It is no longer danced on a shield, but it is still the goal of the dancer to stay in the same spot throughout the dance. The Highland Fling is danced at almost all competition levels, from Primary to Premier. It is also...
- Sword DanceScottish sword dancesPerformance of sword dances in the folklore of Scotland is recorded from as early as the 15th century.Related customs are found in the Welsh and English Morris dance, in Austria, Germany, Flanders, France, Italy, Spain, Portugal and Romania...
- Seann Truibhas
- Strathspey and Highland Reel
- Strathspey and Half Tulloch
- Strathspey, Highland Reel and Half Tulloch
- Reel of Laura johnston
National Dances
- Scottish Lilt
- Flora MacDonald's Fancy
- Wilt thou go to the barracks, Johnny?Wilt thou go to the barracks, Johnny?Wilt thou go to the barracks, Johnny? is a national dance in Highland dancing, and was originally a recruitment dance for the Scottish Army. It is usually performed wearing the highland dance costume , though rarely in competitions...
- Highland LaddieHighland LaddieHighland Laddie, also known as Hielan' Laddie, is the name of an ancient Scottish popular folk tune If thou'lt play me fair play, but as with many old melodies, various sets of words can be sung to it and Robert Burns' poem 'Highland Laddie, Highland Lassie' has been the most memorable...
(Hielan' Laddie) - Blue Bonnets Over the Border
- Village Maid
- Scotch Measure (Twasome)
- Earl of ErrollEarl of ErrollThe Earl of Erroll is an ancient title in the Peerage of Scotland. It was created in 1453 for Sir William Hay.The subsidiary titles held by the Earl of Erroll are Lord Hay and Lord Slains , both in the Peerage of Scotland. The Earls of Erroll also hold the hereditary office of Lord High Constable...
- The Cake Walk
- A Tribute to J.L. McKenzie
- Flowers oh Edinburgh
- Hebridean Laddie
- Tulloch Gorum
- Over the Water to Charlie
- The Dusty Miller
Character Dances
- Sailor's Hornpipe
- Irish jig
See also
- Four Scottish Dances
- Highland gamesHighland gamesHighland games are events held throughout the &Highland games are events held throughout the &Highland games are events held throughout the &(-è_çà in Scotland and other countries as a way of celebrating Scottish and Celtic culture and heritage, especially that of the Scottish Highlands. Certain...
- Irish danceIrish danceIrish dancing or Irish dance is a group of traditional dance forms originating in Ireland which can broadly be divided into social dance and performance dances. Irish social dances can be divided further into céilí and set dancing...
- Scottish country danceScottish country danceA Scottish country dance is a form of social dance involving groups of mixed couples of dancers tracing progressive patterns according to a predetermined choreography...
- GhilliesGhillies (dance)Ghillies are specially designed shoes used for several types of dance. They are soft shoes, similar to ballet shoes. They are used by women in Irish dance, by men in Scottish country dance, and by men and women in Highland dance....
External links
- toeandheel.com worldwide highland dancing information resource by Deryck & Gareth Mitchelson
- Scottish Official Board of Highland Dancing (SOBHD)
- British Association of Teachers of Dancing (BATD)
- Scottish Dance Teachers Alliance (SDTA)
- United Kingdom Alliance Ltd (UKA)
- Australian Board of Highland Dancing Inc.
- Federation of United States Teachers and Adjudicators
- Official Board Of Highland Dancing (South Africa) (OBHD(SA))
- ScotDance Canada
- Cowal Gathering
- McPhillips School of Highland Dancing Australia
- ScotDance PEI
- The Alberta Highland Dancing Association
- The Calgary Highland Dancing Association
- The Johnson School of Highland Dance
- HIGHLAND DANCER -- The original Highland dancing magazine
- Amethyst Scottish Dancers
- New Zealand Academy of Highland and National Dancing
- New Zealand Highland Dancing History
- Scottish Official Highland Dance Association
- Scottish Dancing Association of Australia