By Sharon A. Phelan
In Dance in eire: Steps, levels and tales, Sharon Phelan presents an in-depth view of dance in eire in the course of the colonial and post-colonial eras. She offers dance as an essential component of Irish lifestyles and as a signifier of cultural switch. valuable subject matters are documented and analysed. They contain cross-cultural affects, the dance grasp and pantomimic dance traditions, dance through the Gaelic Revival, dichotomies in dance, and the theatricalisation of Irish dance. The publication is illustrated with images, and is an imperative source for teachers and artists alike, as they proceed to foster dance, at the web page and at the degree.
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Additional info for Dance in Ireland: Steps, Stages and Stories
The Irish Section of Fynes Moryson’s Unpublished Itinerary, 111. ), The Dramatic Works of Thomas Dekker, 361. 48 Dance during the Colonial Era 21 to Irish “heys” were common in many of the prominent plays of the sixteenth and seventeenth centuries. 52 In addition, the accompanying music to the Irish “Hey” received mention in a British folk song in the seventeenth century. 53 There were also square dances “for foure” listed in The English Dance Master; they included “Parson’s Farewell”, ‘Saint Martin’s, the “Rufty Tufty” and “The Glory of the West”.
He died aged twenty-one in 1731, seemingly from exhaustion, after completing a dance marathon. 62 Still, there is little reference to the dance itself. It is probable that it was a simple dance, far removed from the complexity of the dances danced later in the century. Apparently, Lattin accompanied himself on the fiddle and bagpipes. The latter was characteristic of Scottish step dancers. Dance masters introduced their own novel techniques and many remain part of step dances today. These included, “drums” and “double drums” and “batters” and “double batters”.
John Playford also referred to round dances in his book. In Ireland and Britain, the round dances catered for unlimited numbers and during the dances the male and female dancers occupied alternate positions. The footwork was almost identical. ” 49 Irish “Hey Dancers” used the same footwork, but like other Irish dances, there was a faster dynamic. British travellers noted the fast dynamic in their notes. 51 References 47 O’Neill, Irish Folk Music: A Fascinating Hobby, 303. Bhabha, The Location of Culture, 96.