Riverdance
 
Now that we’ve reached modern times in our origins series, it’s impossible not to mention Riverdance. If you were around in the 90s or early 2000s, chances are it’s how you heard about Irish dance in the first place. Riverdance was a global phenomenon that’s still considered one of the most successful dance performances of all time, grossing, by its 20-year reunion, over a billion dollars worldwide. And while the most traditional aspects of Irish dance live on, it would be impossible to deny the new life and interest that Riverdance helped breathe into the time-honored artistic sport that is Irish dance.
 
It all began in 1981, when composer Bill Whelan was asked to write and produce an interval act for the Eurovision Song contest (which is now something like a pan-European X-Factor, but all music-based, and at the time was considered a very serious music competition.) This first piece was called “Timedance,” and featured Irish folk group Planxty playing baroque-inspired music with ballet dancers accompanying. When Bill Whelan was approached again (with 7 wins, Ireland has won the Eurovision contest more than any other country) in 1994, he decided to do something closer to Ireland’s roots. He created the most successful interval show in Eurovision history, “Riverdance”—a score filled with traditional Irish instruments like drum and fiddle, paired with “haunting vocals” and, of course, Irish dancers, all with a modern twist!

People around the world (the performance was initially seen by 300 million people worldwide) were stunned and amazed by this seven-minute introduction to traditional Irish dance and music, which up to this point was only well known in Ireland and areas with high populations of Irish immigrants. The audio recording stayed at the top of the Irish singles chart for 18 consecutive weeks (it’s still the second best-selling single in Irish history, only following Elton John’s “Candle in the Wind”) and a repeat presentation was held at the Royal Variety Performance (a yearly charity event held by the British royal family) that year. Husband-wife production team Moya Doherty and John McColgan saw the opportunity for this short performance to become a full-length theatrical event, and within six months Riverdance, the show, had its first performance in Dublin.

​Gathering together the music stylings of Bill Whelan and choral group Anúna with choreography largely by American-born Irish dance champions Michael Flatley (yes, the “Lord of the Dance”) and Jean Butler, Riverdance was not only an immediate, but a consistent hit. The opening night didn’t just sell out, but the first five weeks at the Point Theatre in Dublin, as well as a four-week run at London’s Apollo (and a second run, which was extended twice--over 120,000 tickets initially), as well as every date at New York’s Radio City Music Hall. The original production of the show would run for 11 years, but additional tours stretched the longevity to 23 at 515 venues in 47 countries on six continents!

But Riverdance wasn’t just your grandmother’s Irish dance—it combined new, sleeker costuming (no elaborate, heavy dresses with Celtic designs or high-bouncing curls) with influences from other dance traditions, expanding the insular world of Irish dance for the world stage. While it made use of Irish dance’s iconic forms and steps, it also used choreographed arm movements and emotional ebullience to complete the performance, instead of the traditional stiff upper body and relatively controlled expressions. Drawing from other cultural dance traditions, such as flamenco and tap, Riverdance placed Irish dance as part of world dance tradition rather than completely apart (and engaged the audience in new, theatrical ways not entirely reliant on technique, as is all-important in the world of competitive Irish dance, as well!) The producers likened Riverdance as a mirror to the cultural revolutions happening in Ireland and throughout the world. Ireland of the 1990s was embroiled in the Troubles and Riverdance became a symbolic representation of the way Irish society was changing.
 
Little known to the casual Riverdance-enthusiast, Flatley actually wasn’t in the show for long. While he and Jean Butler were the stars of and choreographed the original, Eurovision performance, Flatley left the theatrical show only a few months after it originally premiered. There appears to not be one reason he left, but many—Flatley’s desire for complete creative control, his refusal to sign a contract over profit-sharing, salary, and royalty disputes, or, according to Jean Butler: his own ego. (Click that link for Butler’s more detailed description of working with Flatley—it’s an interesting read!) Flatley’s lawsuit against the production wasn’t settled until 1999, but it didn’t stop Flatley from garnering international acclaim from his own spin-off shows, Lord of the Dance and Feet of Flames among them. Flatley even holds the title of “Highest Paid Dancer” in history in the Guinness Book of World Records.
 
While Riverdance might not be exactly the traditional Irish dance we teach at SRL, its influence lives on and had the positive affect of making Irish dance a household name worldwide. The show opened this once narrow cultural practice to those outside of Ireland, revived interest within its home country, and no one can deny—it’s quite a show! If you’re ever able to catch a performance don’t hesitate--the 25th anniversary show is even touring now!

This post is part of a series. Read our last origins of Irish dance post, all about sean-nós, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

​Last time we did a technique review, we covered rhythm. So you may be asking yourself…isn’t timing the same thing? While the two are definitely related, not quite! While rhythm refers to a dancer’s synchronization with the music, timing refers to the pace at which a dancer performs individual movements. Or, to say it another way: rhythm is how the pattern of movements correlates to the music’s pattern, while timing is the relationship of one movement to another. You can think of it as pacing too…but it’s a brain-twister!
 
The truth is, it’s hard to separate timing and rhythm, and issues with one will generally cause issues with the other. Going back to the “Happy Birthday” analogy from last time—someone with rhythm issues won’t be able to stay on beat with everyone singing, while someone with timing issues may extend one word too long and then maybe speed up singing another part of the song. In Irish dance, especially in the more advanced levels, individual movements have individual timings (think of a sliding movement in a hornpipe dance versus fast-flying feet in a slip jig) and while keeping to the beat (rhythm) is one struggle, timing those individual movements is another. Essentially, one move may be meant to take two beats of the music but the dancer does it in one or three.
 
There’s two separate kinds of timing issues on a basic level: too fast or too slow. While too slow is probably easiest to see with the naked, non-dancer eye (as it skips over too many beats in between or during movements)—too fast is equally common and might manifest itself with a dancer finishing a phrase (i.e. a set of movements) and then needing to pause to begin the next phrase. Sometimes timing issues stem from nervousness or difficulties with a particular move or phrase, and sometimes it’s an inability to hear the music. Dealing with timing issues, like rhythm, needs to be looked at on an individual basis, but there are a few things you can help with at home!
 
First off, if it’s an individual movement issue, YouTube is your best friend! Look for a video of the move done correctly, then slowed down and explained, and then put to music that your dancer will be able to watch over and over again outside of the classroom setting. Sites like Target Training Dance or Irish Dance Magazine’s YouTube are amazing resources—Irish dance may be a small world, but it’s a supportive one, and there’s a dearth of information out there! When trying to figure out how multiple movements fit together (like when you learn a new step), we always recommend that dancers record a video of it slowed down with no music as well as a video with the step danced to music. Back in the day, we used tape recorders of our teachers singing or lilting steps before cameras were built into every phone!

It may also be the type of music that’s the issue—perhaps it’s specific instruments (some dancers can hear a fiddle, but not the downbeat from ​an accordion, for example) that cause confusion or a music with a particular beat (to review the differences in Irish dance music, check out this past post!) This problem has the same suggestions for home practice as rhythm issues (see that post from last week here)—see if your dancer is able to clap along to the beat of the music. If they’re not able to hear the music they won’t be able to feel the music while they dance, which will throw off the timing of their moves.
 
Musicality is a learned skill for many dancers and the biggest key for improvement? Consistent practice, determination, and possibly a private lesson or two for good measure (as small as SRL classes are, sometimes a little one-on-one time is needed to better suit one dancer’s particular learning style or better determine where the disconnect is.) At home, they can try dancing to the beat of a metronome or simplified beats (stripping back the music to simply beat will make is easier to hear!) You can also try singing steps alongside the music or using your hands to keep time to the music on the floor to help your dancer visualize the beat—every kid learns differently! The important part is to not give up, and ask your dancer’s instructors for help as needed!
 
This post is part of a series. Read our last technique review, all about rhythm, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

While “rhythm” is obviously a key part of any dance discipline (or casual dancing, for that matter!), Irish dance’s demands on a dancer’s rhythm are more complex than average. As dancers move up through the levels and start adding more types of dances to their repertoire, they’re also adding new types of music with a variety of rhythms they’ll need to be able to identify and dance in time to. While we’ve covered the different types of music used in Irish dance in a previous post (check out our post here! or a few other resources: here or here!), we’re here tonight to help explain the concept of rhythm in Irish dance and how to troubleshoot any rhythm issues!
 
Rhythm, broadly defined, is the ordered recurrent alternation between sound and silence (in music) and (in dance) the movements that coordinate with that alternation. You may have run across Miss Courtney’s explanation of rhythm in class before—she likes to compare it to “Happy Birthday.” We all know how to sing “Happy Birthday,” and all do it unison every time. That’s because we inherently know the rhythm of the words, even without backing music. Rhythm in Irish dance is a little more complicated as there’s both movements and music involved, but the principal holds: when you understand and can hear the rhythm of the music your movements are in tandem with those beats. Or, as our dancers would probably say: iykyk.
 
It’s easy to think of rhythm as a hard shoe-specific issue, and it’s true that it’s more noticeable to the casual observer when a hard shoe strikes at the wrong moment than your ghillies. But it’s not true of the adjudicators or your teachers—they’ll notice, for sure! Rhythm is equally important in soft shoe as it is in hard shoe. Dancers with rhythm issues will still be able to perform their dances in full, and will possibly still end in the right moment, making them think their rhythm is intact. However, rhythm has more to do with the individual style and timing of each movement in conjunction with the music—i.e. a heel strike on a down beat versus in the middle of a musical phrase.

If a dancer is struggling with rhythm, the first step is to determine if they can hear the rhythm of the music. An easy test of this is having them clap along with it—some people simply can’t naturally hear the rhythm of the music and can’t follow, say, the beat of a jig (fast fast slow or up up down.) This is a skill you'll see practiced in our earliest levels (Tiny Jig and Pre-Beginner especially) and while it may not look like dancing, it's a precursor to this very important aspect of Irish dance! If clapping isn’t working, trying having them count the beats out. That may not work either, and it can be difficult for some dancers to realize they can’t accurately hear the rhythm of the music. Musicality is often a learned skill, and can usually be improved with patience, diligence, and help! A private lesson (or a few) for dancers struggling with rhythm is always a good idea, particularly if they have a specific dance they’re struggling with.
 
Private lessons for rhythm issues give instructors the time to break down the dance and even record it for further study for the dancer without taking away from class time. But there are exercises you can try at home as well (besides constant practice, which is always a good idea!) This suggestion comes from feis circuit musician and former Irish dancer, Sean O’Brien—his fix for improving your rhythm is to practice your dances alongside a metronome instead of the music, saying: “This is the simplest way to strip music back to its fundamental, unchanging beat. Sometimes people can be confused by the layers of instruments, and a metronome helps to distinguish the underlying tempo.”
 
Rhythm is a difficult concept to explain in words, and there’s always an ongoing debate about whether or not it can actually be taught. Our verdict here at SRL? Miss Courtney herself struggled with rhythm early on in her dance career, but (clearly!) overcame it—so there’s probably no better place to work on it than here at SRL!
 
This post is part of a series. Read our last technique review post, all about extension, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Welcome back to technique review, where we cover the most essential principles of Irish dance that every dancer needs to practice, train, and condition for—from Beginner to Championship level! This week, we’re taking a look at extension, a term which specifically refers to the line of the leg while dancing. It may sound simple, but it’s anything but!
 
Proper extension for Irish dance is a little more complicated than standing up straight—it refers to the leg being fully straight and the knees pulled up at all times. The term “knees pulled up” can be a little confusing for non-Irish dancers, but signifies the muscles literally pulling up as you rise on your toes and extend your knee fully (it’s the correction Irish dance teachers love to yell when you bend your knees!) Once you reach the higher levels of Irish dance, this also refers to the dancer using the space on the stage to their full advantage, reaching as far as they can to “fill” each movement.
 
While fully straightening your leg seems like something we all do every day, it actually requires a particular type of flexibility—most notably, the hamstrings. If you’re getting notes back from the adjudicators (or your teachers) noting that you’re “sitting on your knees,” it means your back leg is bent while dancing and you’re most likely dropping your heel. Tight hamstrings are the most likely culprit—it probably feels like you’re fully extending, even when you’re not! This isn’t a problem limited to Beginner dancers, as it’s something that can follow you into the upper levels if not addressed.
 
While all our upper level classes begin with exercises meant to increase flexibility, hamstring flexibility doesn’t have an overnight fix. Like everything in Irish dance, it takes patience, dedication, and constant practice—i.e. daily stretching over a long period of time. Remember to NEVER stretch cold—always warm up first for 5-10 minutes—and make sure to hold each stretch for 40-60 seconds, focusing on each stretch as you complete the action. Need some new hamstring stretches? We love Target Training Dance for great tricks and tips specifically tailored to Irish dancers!

But hamstrings aren’t the only muscles that need to be addressed! A dancer’s glutes and quads are equally important, as these are the muscle groups you’re most actively engaging when you’re “pulling up” from your knees. The stronger your glutes and quads, the more focus you’ll be able to commit to this part of your form and the more natural a fully extended leg will become. But remember: leg strength and flexibility need to be balanced with core strength for this to work—Irish dance is a whole body workout. Click any of the links throughout this article to see a wide variety of exercises for everything from your hamstrings to your core! (That’s right, every single link here is another exercise (or set of exercises) to help with extension! And here’s one more for good measure.)
 
But why is extension important? It’s not only that proper form requires a clean line from a dancer’s leg—there’s long term health and safety risks, as well. An estimated 80% of Irish dance injuries stem from overuse—which doesn’t mean your dancer is dancing too much, as much as it means they need further conditioning, a balance of strengthening and stretching in equal measure. It’s imperative for all Irish dancers to condition outside of their regular class time in order to avoid overuse injuries and be able to continue to improve. This article even found links between hamstring flexibility and the ability of a dancer to advance through the competitive levels.
 
Whether you’re just starting out or have a room full of medals, remember: extension is key! (And so are the exercises to help improve it!)

This post is part of a series. Read our last technique post, all about arching, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Sean-nós Dance
 
In our Origins of Irish Dance series, we’ve covered everything from Irish dance’s druidic origins and 18th century dancing masters to competitive levels and modern costuming. However, there’s something we breezed right past, as it’s a deviation from the standard Irish step we teach at SRL: sean-nós dance! (Though we have dabbled in sean-nós before with dances like Maggie Pickens and a summer masterclass with guest instructor Annabelle Bugay!) Tonight, we’re taking a step back to take a look at this branch of Irish dance tradition that has had wide-reaching influence on not only Irish step dance, but other forms of dance as well.
 
Sean-nós, meaning “old-style,” is a solo, percussive, usually improvised style of Irish dance strongly associated with Connemara on the west coast of Ireland. Unlike Irish step dance like we teach at SRL, which is highly regulated by the CLRG in Ireland, sean-nós is a more casual dance form that predates any modern records and developed differently in disperse areas over time. Sean-nós dancers, due to the improvisational nature of the dance that favors personal style over precision, normally dance alone, though many often take turns dancing to the music. Generally danced in a social setting, like a pub, party, or cultural festival (though competitions now exist, as well as some “standard” steps!), this form of Irish dance is more stripped down than step in both presentation and musical choices.

​While Irish step dancers perform highly choreographed routines in often elaborate costumes with stiff arms and high kicks, sean-nós Irish dancers throughout time have tended to favor their street clothes, improvised steps, free arm movement, and footwork that stays low to the ground. Additionally, while adjudicators expect a competitive step dancer to move over the entire stage during a performance, sean-nós was traditionally performed in tight spaces: a door taken off its hinges, on a tabletop, or even on the top of a barrel! There was even an old saying about how a good dancer could perform on a silver serving tray, but a great dancer could perform on a sixpence. (Though sean-nós dancers these days generally just prefer a hardwood floor.)
 
Then, there’s the shoes. While any Irish dancer knows all about ghillies and hard shoes (check out a history of Irish step shoes here,) sean-nós dancers don’t have a particular type of shoe they’re tied to. However, they are looking for something that can make some noise! Sean-nós concentrates on what they call the “batter” i.e. hard, percussive sounds that emphasis the accented beats in the usually 8-count music being played as they dance. Many modern sean-nós dancers actually prefer tap shoes!

​While Irish step hard shoe and sean-nós have has much in common as they do differences by way of proximity, sean-nós also made a huge impact on the world of American dance forms. With the influx of Irish immigrants in the 1800s during the Great Famine, sean-nós made its way to the U.S. and subsequently became a part of our culture, whether we realized it or not! While sean-nós itself isn’t widely found in America modern day, it highly influenced the vaudeville era of American dance, lending its style to soft shoe, flat-footing, hoofing, and clogging—all precursors to American jazz and tap!
 
So, while SRL may not have a sean-nós class, this old-style of dance is still an intrinsic part of the story of Irish dance’s (and American dance’s) history. And it still lives on in many a pub and party today. (Can’t forget a pretty epic flash mob in Galway in 2013 to promote the 116th Oireachtas Festival there! Watch a video of it here.)

​This post is part of a series. Take a look at our last “Origins of Irish Dance” post, all about modern male costuming, here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

​As Irish dance is an artistic sport that always striving toward the ultimate goal of flawless technique, we’re back with another aspect to concentrate on and work on at home. The term “arching” is a pretty descriptive one even for non-dancers—and from day one in dance class (across disciplines) every dancer in history has heard the same refrain, on endless repeat: “Point your toes!” But arching is so much more than simply pointing your toes!
 
First off, a more apt description than “pointing your toes” would be “pointing your feet.” True arching is an extension of the line of your leg, meaning curling the toes is only the beginning. Your ankle must also become a part of this extension, with your ankle continuing the line in a movement not unlike when you’re pressing down on a car pedal. This clean line extends through the rounded top of the foot and through to the toes to make one seamless arch. Mastering extending both the ankle and the arch of the foot simultaneously can be a struggle for some dancers, usually choosing one over the other—watch out for that!

An even more critical issues to watch out for in a dancer’s arch is sickled feet. Sickling your feet is the rolling of the ankle either in (pronating) or out (supinating.) This can be a part of a dancer’s natural anatomy. The easiest way to see if your natural tendency is to sickle your feet is to have someone look at your feet from the back while you stand straight—if the sickling is severe it’s best to consult a doctor as injury can result, whether or not you’re dancing!
 
But, most sickled feet happen when a dancer “overpoints.” While a strong point is, of course, a need for any dancer, overpointing is the over-extension of the foot and toes, the force of which comes from the ankle and thus causes a dancer to pronate or supinate. Not only does this break the clean line of the arch you’re looking for, it can lead to weakness in the ankles and imbalanced muscular development.

​Another anatomy-based issue that can affect someone’s instep (another term for arch!) while dancing is being born flat-footed (though one can also develop flat feet!) This essentially means your feet, when you’re standing straight, are literally flat to the ground from every angle. Once again, flat feet don’t only cause a problem for dancers—they can lead to increased stress on your knees, back, and spine whether or not you know how to jig!
 
But how to improve? One thing to keep in mind is what you’re trying to strengthen. Make sure any additional research you do is tailored to the specific issue you’re combatting—pronation versus supination, etc.—or you can end up exacerbating the problem.
 
But if it’s general arch and ankle strength you’re looking for, theraband exercises are still the go to. Don’t worry if you don’t have one! There’s plenty of exercises you can do with household objects—like Miss Courtney’s suggestions: laying a towel on the floor and using your toes to scrunch it together or putting Legos, marbles, etc. on the floor and using your toes to collect them! (Which also sounds pretty entertaining.) Or check out this list of easy household exercises that Feis America Magazine contributor Caitlin Buck has put together!
 
This post is part of a series. Check out our last technique post, all about height on toes, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

​So far in technique review we’ve covered turnout, crossing, and posture—but we’re not done yet! We’re moving away from the arms and shoulders this week and returning to the feet as we discuss one of most important aesthetic and technical components of Irish dance: height on toes. As almost all movements are performed on the balls of the feet, maintaining height on your toes is necessary to properly execute all dances!
 
While the term “height on toes” may conjure up the image of a ballet dancer in pointe shoes, what we’re referring to here is the ability of an Irish dancer raising themselves fully on the balls of their feet, not the tips of their toes. Though there is an exception to this rule (the “heel” or “stamp”) where the foot makes full contact with the floor, outside of this an Irish dancer must never let their arch or heel touch the floor! And yes, that even includes landing jumps!
 
This can be particularly challenging for dancers while performing in hard shoe. Though the fiberglass heels of today’s hard shoes are much lighter than their predecessors, they can still often feel very heavy, especially to beginners, leading to dropped heels while dancing. This is an even more glaring issue when in hard shoe (as opposed to soft ghillies) as it’s not just improper technique, but leads to unnecessary additional sounds that can disturb your rhythm!
 
As dancers move up through the levels, they’re not only expected to stay on their toes, but that their height on toes is so extended that they’re dancing well up on the balls of their feet, close to the base of their toe. Thus, performing strengthening exercises for your calves and feet outside of class is one of the keys to improving as an Irish dancer across the board. While there’s numerous theraband exercises that can help with conditioning your calves and feet, and single leg calf raises are a good workout as well, Miss Courtney recommends “doming” as the best possible way to help increase your arch strength and shaping.

Doming is an exercise (see it in action here!) that not only works the larger muscles of your foot, but aims to involve the smaller, intrinsic muscles that are buried deep within the bottom of your foot. Strengthening these smaller muscles helps stabilize the joints of the foot as a whole, providing a more stable base for dancers to jump, jig, and move. You know how core strength is what keeps us upright? Think of this as core strength for your foot! (Check out some more tips from Irish Dancing & Culture magazine here and from Target Training Dance—a great resource--here.)
 
It’s incredibly important for Irish dancers to make sure their feet and calves are at full strength, and not just because a lowered heel could knock you down a place during judging. A study in The Journal of Athletic Training in 2017 reports that fatigue in Irish dancers leads to heel drops and thus an increased risk of lower limb injury. Increasing the stamina of your height on your toes is imperative to help avoid the arch and heel release that can lead to injuries such as stress fractures, ankle sprains, and plantar fasciitis, among others. But, like anything else in life, preparation is the best way to avoid any problems, so get your dancer working on calf and foot strength sooner rather than later!
 
This post is part of a series. Check out our last technique post, all about posture, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Something we love about Irish dance? How it sets obtainable and clear goals to work hard toward! This is an element that exists in every level of SRL’s classes—certain skills are a pre-requisite for moving onward and upward from Tiny Jig to Pre-Beginner, from Novice to Prizewinner, and beyond. It’s one of the reasons we think Irish dance is more than exercise and artistry—it’s a place to gain life skills that will serve your dancer across the board as they learn and grow. It’s never too early to learn patience, process, and the importance of persistence and hard work.
 
Check in on any level of class—from our Championship dancers to our Beginners just starting out—and you’ll notice something you might not see at another kind of dance studio: a mixture of ages across all levels. While most other dance disciplines organize students both by age and skill level, Irish dance tends to organize only by skill level, something we hold to here at SRL. For students starting out in the early levels, this can be a surprise: if you’re starting Irish dance at 11 and are in class with 6-year-olds, you might feel like you’re late to the party or in the wrong class. That couldn’t be further from the truth! We’re here to talk through the benefits of mixed-age classes, and why SRL thinks they’re a benefit to our dancers.

​First off, Irish dance isn’t just about dancing—it’s a hard-won skill that builds upon itself. You have to learn your jump-2-3s before you can learn your reel! Much like other forms of exercise that require openness and mindfulness to the process (such as other forms of dance or yoga,) Irish dance encourages dancers to understand their movements (and the paired music) on a fundamental level before they move on to more difficult moves and more complex choreography. When you watch an Irish dancer perform, what you’re really watching is many more basic, singular movements learned over many years that the dancer is in full control of. It’s why they look so light and graceful—practice, practice, practice! This way of determining skill level also functions as a safety measure. With Irish dance’s high-flying moves, proper technique is required to avoid injury. You can’t skip any steps!
 
Secondly, Irish dance holds all dancers to the same standard no matter their age, race, gender, or experience. The strict regulation of Irish dance by the CLRG has led to the establishments of clear benchmarks that any dancer needs to clear before moving on. That means we can have 17-year-old students in class with 10-year-old students, because while these students may differ greatly in many ways, they all have the same foundational skills that makes them equals in the eyes of Irish dance. While the world isn’t always so fair, it does teach an important lesson to our dancers about the benefits of working hard to improve—you only get as much out of Irish dance as you put in and no one is rewarded by moving up a level simply for the fact they had a birthday!

Lastly, and perhaps most importantly, here at SRL we love our mixed-age classes because of the peer-to-peer learning environment in encourages! Much like a Montessori school, we find that our mixed-age classes better stimulate all age groups’ development, improve social skills across the board, boost self-esteem, increase the taking on of leadership roles, and better simulate actual community environments. Beyond bonding with your classmates, we also encourage friendships and mentorships amongst age groups through buddy pairings for competitions and our student assistant program. This gives our younger students strong role models within the studio that they’ll then strive to emulate as they grow, but also gives our older students a chance to become those role models and try out teaching at a young age. We find this way of teaching mutually beneficial and motivating for dancers of any and all ages (with our instructors’ guidance, of course!)
 
So, parents, don’t worry if your Beginner (or not-so-Beginner) dancer is initially unnerved by the older or younger students in their class—it’s all part of the process! While initial misgivings are understandable, especially as most dancers will have only interacted with peers of their same age, there’s benefits they might not be able to see at first glance. At SRL, we look at everything that happens inside our walls as a learning opportunity for our students…whether it be a new step or adjusting to a class they didn’t expect. As long as a dancer is putting their all in, there’s nowhere to go but up!
 
This post is part of a series. Read our last 411 post, all about communicating with your teen, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

​Technique Review: Posture
 
What does the word “posture” conjure for you? A young lady at finishing school balancing books on her head? Well, if you’re an Irish dancer you might have a different answer! When most people think about “posture” for Irish dance, the first thing that comes to mind is the unique form Irish dance utilizes: an unmoving, straight spine as their feet are flying. But good posture isn’t about just not moving your upper body—there’s a lot more to it than that!
 
Good posture in other forms of dance is a little simpler than Irish dance (what isn’t,) with the term generally referring to an alignment of the spine and body—from the top of the head through the heels. Good posture isn’t just about correct technique--it’s about putting the least amount of stress on your ligaments, muscles, and body in general while performing an activity. There are benefits to maintaining good posture, whether or not you’re a dancer—less wear on bones and joints, decreased back pain and spine issues, and helps prevent muscle fatigue—but for dancers the stakes are even higher. Not only will the adjudicators notice incorrect posture (and dock you!) but maintaining a correct posture while dancing can also help prevent injury. With back pain as one of the most common complaints for dancers across disciplines, the best option for avoiding it is maintaining proper posture from the get-go to lessen the strain!
 
But posture for Irish dance goes beyond standing up straight—it’s all in the arms! To get into the right posture for Irish dance, first stand with your spine straight, heart up (make sure to avoid arching your back and pushing out your ribs!), and push your shoulders back as far as you can—ideally until your shoulder blades touch at your spine! Try it at home, parents—it’s not comfortable, is it? It’s not any way to go about your day to day, but it’s the standard, required posture for solo Irish dance. And that’s not all! The arms need to be kept completely straight to the sides, hands always in fists. It’s a lot to remember while also remembering those steps!

Issues with posture tend to stem from dancers not holding the correct amount of tension in their bodies. Too stiff and your movements will become jerky and awkward versus smooth and graceful. Too loose and the upper and lower body won’t appear to be in sync. Either of these issues encourage the biggest mistakes we see with Irish dancer posture: shoulders rolling forward (think what your dancer looks like hunched over their phone all day,) loose and untamed arms, bent arms, or arms pulling away from the body.
 
But how can we encourage correct Irish dance posture? A technique we like to use in class (but can easily be utilized at home as well!) is pinning rubber circles (or paper plates) between the elbow and the ribcage. If the arm comes away from the body at all, the plate drops! This is a great way for your dancer to practice their feis performances—muscle memory is everything. The other key is core and upper body conditioning. A strong core and arms allow the position necessary for Irish dance to be held, even while the feet are constantly moving.
 
There are so many exercises and tutorials available to help your Irish dancer with their posture! Miss Courtney suggests lateral pulses, shoulder rows, “dead bugs,” superman pulses and holds, and any core work at all! For our littlest dancers, egg rolls (and the paper plate trick) are the best starting point. Wherever your dancer starts from, these exercises and practices will not only improve their dancing, but help with their overall back health—whether they keep dancing or not!
 
Tune in next time for a more advanced technique review, but a pivotal one as your dancer continues on their Irish dance journey: height on toes!

This post is part of a series. Take a look at our last technique review, all about crossing, here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Last time, we took a look at the importance not only of turnout for the sake of technique and aesthetics, but for the safety of every dancer. This, of course, extends to other aspects of technique, including: crossing. Whether you’ve been dancing one year or twenty, crossing is one of the most basic techniques to master, as it’s the beginning and end position to any Irish dance move you might perform—one leg in front of the other.
 
To determine what state your crossing technique is currently in, first turn out your feet (which we covered last week!) Then, starting with your heels still together, move your right leg in front of your leg without shifting the position of your turned-out foot, knee, or hip. The first goal is get your right heel touching your left toes. As you improve your turn out, the next goal would be getting your right toes to touch your left heel in the same position (with your right foot still in front.) This is the  ultimate crossing goal in the Beginner and Early Intermediate levels, along with getting that first progression in every movement!
 
As you move on to the highest grades of Irish dance, you’ll want to increase your crossing ability. To do this, you’ll want to keep moving your already crossed feet further apart—your left leg further to the right and your right leg further to the left—until you can’t move them any further. The goal for the best possible technique in Irish dance would be as much space between your shins as possible while you’re in a crossed position.
 
However, it’s important to keep body alignment in mind when crossing, as the act of crossing can often lead to dancer to be facing diagonally instead of straight ahead. If this is happening, you want to correct yourself into a less turned out or less crossed position where you belly button is facing forward. A study of dancers across disciplines from the Clinics in Podiatric Medicine determined that 53% of dance-related injuries are of the ankle or foot (with a higher proportion in Irish dancers--83% in this specific study) citing lack of proper body alignment as one of the primary sources of said injuries.
 
Crossing your feet may seem like no big deal, but as all jumps in Irish dance are expected to begin and end in this position, correct crossing technique is imperative to a dancer’s health and safety. Research from BYU in 2017 asserts that Irish dancers land with a force of 4.5-6 times their body weight, making proper technique while jumping one of the easiest ways to avoid injury. With the effects of dance shoes across disciplines being a relatively new area of study in sports medicine, mitigating this force with proper technique becomes paramount.

There are many exercises to help improve your crossing technique, and some of Miss Courtney’s favorites include cross walks up to the mirror (to be able to see your alignment all the better—make sure to always practice with proper technique, it’s the only way to improve!), as well as floor butterflies to increase the strength in your inner thighs and glutes. Take a look at our last post in this series to see a few exercises that will help increase your turnout, too—turnout is important in every aspect of Irish dance, including crossing! The better your turnout, the better technique in your crossing.
​
Miss Courtney also recommends mental cues while dancing to help you remember to both start and end in the correct position, such as “keep only one knee showing” or “keep space between your shins.” While the longer you dance, the more muscle-memory will kick in (read more about movement memory here!), it’s always good to have the mental cues tied to those muscle memories to reinforce this basic tenet of technique if you ever get flustered. It could save you from injury, and will wow the adjudicators!
 
Tune in next week for another technique review—all about posture!
 
This post is part of a series. Take a look at our last technique review, all about turnout, here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Welcome to technique review! In this new series of posts, we’re looking at some of the most important basics of Irish dance—from Beginner level to Championship. It doesn’t matter how many medals you may have won; every dancer needs to continuously refresh themselves on the fundamentals and continue to work on them! First on the docket: turnout.
 
Turnout is one of the most critical tenets of dance generally, and Irish dance in particular as every movement of Irish dance is performed in a turned out position. Not only is correct turnout one of the key points noted by adjudicators on both a technical and aesthetic level, it’s also crucial for safety of the dancer. In a study published in Sports Medicine-Open in 2018, researchers concluded that improper or overcompensated turnout is one of the leading causes of injuries across dance disciplines. This expanded the conclusions published in Open Access J Sports Medicine in 2013 that decreasing the likelihood of dance-related injuries is possible with attention to proper technique and physical training. And as Irish dance’s gravity-defying jumps are performed with less cushion (both in shoes and technique) than other forms of dance, the need is all the greater to know what proper turnout is and to practice on improving it!
 
Turnout in dance refers to an outward rotation of the leg, starting from the hip and continuing through the thigh, knee, ankle, and foot. The goal is a “perfect” 180 degree turnout—a straight line running from the left toe, through the left foot to the left heel, then through the right heel, foot, and toe. While some dancers win the genetic lotto and start with close to that 180 degree ideal, most dancers will have to continuously work on their turnout to achieve this!
 
First: what’s your turnout like naturally? Stand with your feet together, heels touching, and then try to make a V-shape with your feet, turning the entire leg from the hip while keeping your heels together. You’ll know if you’re overcompensating your turnout through a number of signs, including: discomfort, knee position not matching foot position, and a slight (or not so slight) forward roll on the inside of your foot. Any of those signs and you’ll want to close your V-shape into a narrower position—as we said before, dancing when overcompensating puts dancers at a much greater risk of injury (and your teacher won’t be happy either!)
 
But how does one improve their turnout? Like everything else in Irish dance: practice, practice, practice. The most important considerations are increasing the strength of your hip flexors and maximizing the range of motion in your hip joints. Exercises like clams, seated leg rotations, and parallel/turn out drills (among many others you’ll learn in class!) are the key to increasing that range of motion and strength. But none of this will help unless you also stay aware of your turnout while in motion while dancing. This focus can be difficult to maintain while you’re counting along to the music in your head and remembering your choreography, so Miss Courtney recommends giving yourself mental cues! Learning to remind yourself “heels forward, “toes out,” “show the inside of your heel,” or something similar while you dance is as important as the turnout itself–otherwise all that work won’t show in your dancing!
 
Sound like a lot of extra work on top of learning all that choreography? It is! But because of the safety issues (here’s another study looking specifically at injury in Irish dancers that correlates improper landing technique with injury,) not working on your turnout may slow down your progress as an Irish dancer. Not only is it a basic principle of any dance you perform, but Miss Courtney and your other teachers care about your safety first and foremost, and may choose not to teach you more advanced moves until your turnout improves. As, for example, landing jumps or leaps on a straight foot can lead to severe ankle sprains or even cause ligament damage that can take years to fully overcome, you can’t progress without good turnout!
 
This post the first in a series. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Volume IX
 
Children’s Books, Part 2
 
With the summer winding down and regular dance classes about to start up again, it can be hard to get back into the school year groove. Back to school burnout is real and it happens to a lot of our dancers—so why not get them excited instead? We’ve gathered together five highly reviewed children’s books all about Ireland (and one about Irish dance!) that will get your dancer excited to be back in the studio (or at least more excited about it than school.)

1. Am I Small?
Philipp Winterberg & Nadja Wichmann

This story follows a young girl named Tamia as she takes a journey through a whimsically illustrated landscape, interacting with all sorts of magical and realistic creatures, and asking each of them: Am I small? But this book does more than tell a beautiful story (that comes to conclusion that size is relative and everyone is perfect just as they are)—it also has the distinction of being a part of the World’s Children Book project. Writer Philipp Winterberg has dedicated himself to not only writing books with positive messages, but has gotten over 400 translators in on the fun in an attempt to find universal touchstones for all the world’s children. Imagine a world where across every culture and border, we’ve all read Am I Small?! While the copy we’re linking is a bilingual copy in English and Gaeilge, the official language of Ireland, the book comes in over 200 languages, with a goal of 500 languages in the future.

2. The Children of Lir: Ireland’s Favorite Legend
Laura Ruth Maher & Connor Busuttil

In this version of one of Ireland’s most beloved legends, Maher’s rhyming, lyric poetry is paired with Busuttil’s rich illustrations that call to mind the illuminated manuscripts of ancient Ireland. The story is one older than written record, stemming from a tale from Ireland’s millennia-old oral tradition, and tells of King Lir and his four children: Fionnula, Aodh, Fiachra, and Conn (this is also definitely an opportunity to learn some new names!) But, like many fairytales, all was not well in King Lir’s court after a mysterious woman arrives and becomes his wife. Like most fairytales, this new stepmother isn’t all she appears to be and transforms the children into swans, a form they remain in until the curse cam be lifted. This is a typical Irish legend, so not the happiest story, but don’t worry—it’s being told for little readers and skips the scarier parts! Want a preview before you buy? Check it out here.

3. O’Sullivan Stew
Hudson Talbot

Meet Kate O’Sullivan: bold, brave, and always getting into trouble. When the witch in Kate’s village has her horse stolen, the whole town feels the effects: no fish in the nets, no food in the fields, and no milk from the cows. Kate takes matters into her own hands and enlists her brothers to help her steal back the horse and save the town from hunger—but there’s a problem: it was the King who took the witch’s horse! When the palace proves too challenging for a heist, Kate finds herself in front of the King with only her wits to save her and her family. Luckily, Kate is an excellent storyteller and the wild stew of stories she concocts just might do the trick! This rollicking adventure is full of creative, fantastical details, humor, and the most Irish thing of all (besides dance, of course): a good story or two! Sound interesting? Check out an elementary school principal out of Oregon reading it out loud for all!

 4. Let’s See Ireland!
Sarah Bowie

Come along with Molly and her cat, Mipsy, on their tour of Ireland! Bowie is a Dublin based author and illustrator with a comic art style perfect for children of any age—with some learning snuck in! Your child will meet the animals of the Dublin Zoo before stopping to feed the pigeons at Christ Church Cathedral, and then it’s on to peering over the Cliffs of Moher. Full of humor that doesn’t take away from the facts, from the Giant’s Causeway to Hook Lighthouse and Newgrange, Molly’s story will introduce all of Ireland’s most beloved sites—even the Titanic Belfast! While most kids will be able to recognize Big Ben or the Eiffel Tower from a young age, why not let them in on all the coolest sites in the country their favorite activity is from? (And it sure beats the price of a plane ticket!) Hear (and see!) the story, read by a staff member from the Kilmihil Library in Ireland in her beautiful accent, here.

5. Rínce: The Fairytale of Irish Dance
Gretchen Gannon & Don Vanderbeek

Does the word rínce (ring-ka) look familiar? It should! It means dance in Gaeilge and is the R in SRL, after all! This fanciful story creates an original myth about the origins of Irish dance, that, while not necessarily factually accurate (check out our “Origins of Irish Dance” series on the blog for that!), is certainly fun! Gannon’s narrative brings us back to ancient Ireland, where faeries and humans lived together peacefully in a town called Rínce. This richly told and illustrated account (that anyone who loves fairytales will delight in) tells of Irish dance evolving from a pact between the Fae and the humans—creating a new legend for everyone to enjoy! Gannon might never have been an Irish dancer herself, but she married into the world—her mother-in-law hails from Limerick and founded the St. Louis Irish Arts School of Music & Dance—and this book is clearly a labor of love: her two young daughters have been Irish dancers since the age of four!
 
This post is part of a series. Read our last set of book recommendations, for YA readers, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Part 2
 
Interested in trying out Irish dance, but aren’t entirely sure? We could talk all day long about the benefits Irish dance has, physically, mentally, and socially (and we have—check out these posts to learn more!) but why don’t we let some of our dancers tell you a little more about why they love Irish dance here at SRL! We hope you’ll join us!
 
Looking for: far-reaching life skills?
 
“Irish Dance trained me to have a very high stamina, physically and mentally. Courtney was the best at pushing her dancers towards their goals. I know how to work towards long term goal without being worn out, and to push through to the very end.”—Lindsey
 
Looking for: competitive spirit?
 
“My favorite thing about dance is the competition. I like that in Irish dance you can show off how much you've learned and progressed.”—Magnus

​Looking for: enjoyment and self-expression?
 
“When there are no words to explain how you feel, you express yourself through dance. I remember there would be nights when…I was tired, but when I walked through those studio doors I knew it was my time to work. And when I walked out of those doors at the end of the night, I felt like a better person.”—Lindsey
 
Looking for: an online option?
 
“My favorite thing about online class is I can dance at home safely and there’s more one on one with the teacher. Plus, my mom is there to help if I'm struggling.”—Avonlea
 
Looking for: inspiration?
 
“I look up to Courtney because she has given me a second home and something that I truly love.”—Ellie
 
Looking for: friends?
 
“Dance has given me the ability to have friends all around the world that share the same love and passion for Irish dance that I do.”—Christian

Looking for: somewhere to learn and grow?
 
“Irish dance was a life changing experience that provided me with so many opportunities to learn and grow. It was a daily challenge, which inspires my work ethic today. I always aim high and dream big. Through Irish Dance, I learned by working hard and practicing my craft, I could achieve anything.”—Tara
 
Looking for: something to be passionate about?
 
Just take Tilly’s word for it: “I like Irish dance and you will too!”
 
If your dancer is looking for it, SRL has it! While classes run on a school year schedule from September to June, we have a special offer to let new dancers get a taste before they sign up in the fall! SRL’s Intro to Irish Dance Summer Camp sign-ups are now open for new dancers 2-12, with two sessions available at work-friendly drop off times for parents. Learn more about the program here, or feel free to reach out to our Office Manager, Devon, at 860-385-1107 or shoot her an email at office@irishdancetct.com. She’s happy to help!
 
This post is part of a series. Take a look at our last 411 post—tons of testimonials from parents!— here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

​Part 2
 
Is your child interested in dance, but you’re not sure where to start? Why not Irish dance? We won’t try to convince you (check out these multiple posts in case you want some more convincing—we do have a strong case,) but thought we’d let our amazing community of parents tell you why SRL is the right choice, instead!
 
Looking for: exercise with purpose?
 
“Physically it’s helped with coordination and strength. But it’s also helped with focus and determination. And it’s given them a fun way to get their wiggles out and make new friends.”—Evelyn
 
Looking for: cultural enrichment?
 
“I’m Irish, I’m involved in the Irish community, and I thought this might be another way to engage my daughters in an activity that would be great for them and also tied to their ancestry.”—Siobhan
 
Looking for: a confidence boost?
 
“Dance has built [my dancer’s] confidence and has opened her up to experiencing new things.”—Christina

​Looking for: dance that teaches life skills?
 
“I think Irish dance has taught [my dancer] perseverance, grace under pressure, humility and the understanding that its ok to not be ok! Do your best work and enjoy the journey.”—Christine
 
 “I love the way the classes are structured to challenge the students just so much that also pushes them forward in their learning.”—Andrea
 
Looking for: a way to encourage goal-setting?
 
“[My dancer] is competitive and she wants to do well, but she’s a little girl who can be easily more interested in other things. Dancing with SRL and Miss Courtney has given her ways to practice at setting goals and working toward them. This was never more true than her second year when she was struggling with reading in first grade and simultaneously did poorly at a feis. Right after that, she set two goals—which she even wrote down—to get better at reading and to get better at Irish dance. By the end of that year, she had improved dramatically at both.”—Siobhan

​Looking for: a unique, year- round activity?
 
“If your child loves to dance, they should try Irish dance. It’s different than any other style of dance…[My dancer] has been doing other types of dance for years, but Irish dance is beautiful and unique.”—Christina
 
Looking for: an outlet for male dancers?
 
“On an uncommon comparison, I often think it has similar qualities to karate with the discipline, athleticism, and focus. But, Irish dance has joy and musicality that takes it to another level; this is why I think it’s also very good for boys even though it may not be the first thing one thinks.”—Siobhan
 
Looking for: community and support?
 
“I’m amazed at the choreography [my dancer] memorizes. I was so proud that she quickly gained the confidence to participate in a public performance and also do her first feis. I enjoyed watching her teach a dance to some younger Girl Scouts at one of our meetings last year, and I love that she has volunteered to help out at SRL classes with younger children—it’s all been a great growing experience for her in many ways.”—Becca
 
“I wanted [my dancer] to get involved in something, but she did not want to try the traditional tap, jazz, ballet route. I got her to try a class at SRL the summer she was 4 years old and she fell in love with the dancing, the older kids, and of course Miss Courtney.”—Andrea

Looking for: options?
 
“Irish dance is great because it is completely up to you and your dancer as to how involved you want to be. Competition and performances are optional or you can choose to compete every weekend if you want. It’s a unique skill to have and fun to get to show it off!”—Jill L.
 
If you’re looking for it for your dancer, SRL has it! While classes run on a school year schedule from September to June, we have a special offer to let new dancers get a taste before they sign up in the fall! SRL’s Intro to Irish Dance Summer Camp sign-ups are now open for new dancers 2-12, with two sessions available at work-friendly drop off times for parents. Learn more about the program here, or feel free to reach out to our Office Manager, Devon, at 860-385-1107 or shoot her an email at office@irishdancetct.com. She’s happy to help!
 
This post is part of a series. Take a look at our last 411 post—tons of testimonials from dancers!— here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.
​

Part 1
 
Interested in trying out Irish dance, but aren’t entirely sure? We could talk all day long about the benefits Irish dance has, physically, mentally, and socially (and we have—check out these posts to learn more!) but why don’t we let some of our dancers tell you a little more about why they love Irish dance here at SRL! We hope you’ll join us!
 
Looking for: exercise?
 
“I love all kinds of dance but Irish dance is a fun fast kind of dancing!”—Rooney
 
Looking for: long-lasting life skills?
 
“As an adult, my time at SRL taught me the value of time management, passion and persistence. Until college, I was a multi-sport athlete, competitive dancer and a participant in various other extracurricular activities. I learned quickly how to manage my school load with these other commitments to keep everything in balance. I hold myself to a high standard to do everything the best I can, so being able to manage that while maintaining a passion for the sport taught me so much. Today, I approach everything I do with passion and persistence while remembering I have to manage my time well to accomplish all of my goals.”—Tara

​Looking for: enjoyment and self-expression?
 
“I believe there are many reasons behind why people dance, including because friends or family members did it in the past or currently do it now. But I think that some people dance for the same reason I did: for a way to escape reality from time to time. I remember going to the studio, totally forgetting about the outside world, and just living in the moment that was happening throughout dance class.”—Christian
 
Looking for: cultural enrichment?
 
“I think people dance because it is freeing. In Irish Dance, it is you and the floor working in harmony to produce something beautiful and culturally significant. It is a personal challenge…where the only opponent is yourself. It is also an opportunity to celebrate a culture very few understand. To represent and celebrate my Irish heritage through dance has connected me more with my family’s ancestry.”—Tara
 
Looking for: a supportive environment?
 
“SRL is an amazing community where all the dancers and teachers are very motivating, inspiring, and caring.”—Bailey

Looking for: friends?
 
“SRL has provided me with so many opportunities and memories that will last a lifetime.”—Lindsey
 
Looking for: peer mentors?
 
“I always loved my time as an assistant teacher for Courtney and still keep in contact with some of my students today. When they finally got their jumps or skips, it was such a proud moment for me. I miss working with them!”—Tara
 
Looking for: something to be passionate about?
 
Just take Colby’s word for it when asked what he loves most about Irish dance: “Everything.”
 
If your dancer is looking for it, SRL has it! While classes run on a school year schedule from September to June, we have a special offer to let new dancers get a taste before they sign up in the fall! SRL’s Intro to Irish Dance Summer Camp sign-ups are now open for new dancers 2-12, with two sessions available at work-friendly drop off times for parents. Learn more about the program here, or feel free to reach out to our Office Manager, Devon, at 860-385-1107 or shoot her an email at office@irishdancetct.com. She’s happy to help!
 
This post is part of a series. Take a look at our last 411 post—tons of testimonials from parents!— here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram

Dance in Irish Mythology, Part 3
 
The Crane Dance
​
Like any founding mythology of a nation, the Irish mythos is littered with heroes and their glorious deeds—but not many of those stories involve dance. One major exception is the god-hero Lugh (we’ll be discussing the festival in his honor next week!) But before we get into the dancing, we have to tell you a little more about his place as one of the most important heroes in the Irish mythos.
 
First off—it’s unclear if Lugh was a god or an actual, historical figure. On his god side, Lugh was known as one of the strongest members of the powerful Tuatha Dé Danann: the god of sun and light, an all-seeing and all-knowing deity also associated with poetry, arts, and crafts. While the Romans referred to him as the “Gaulish Mercury”—he’s more like Apollo combined with Hermes, with a dash of Hercules thrown in. His many talents are attributed to being the only surviving member of a set of triplets—he’s often depicted with three faces to represent how he has the power of three (an important number in most mythologies and religions.) On the historical side, Lugh is associated with being not just a mighty warrior, but a skilled one, as well as a symbol of rightful kingship—meaning peace, prosperity, law and order, and oaths and truth. It’s a lot of for one man (or god) to carry!

​There are many stories we could tell about Lugh (and probably will in future posts!), but the one that concerns us today is a rite Lugh was recorded performing before he led his men into a fight with the Fomorians (a monstrous, supernatural race from the sea.) While he heats the warriors’ blood with a rhythmic, rousing speech, he…dances. Specifically, he hops to the beat of his chant in a circle on one foot, with one eye closed—and bizarre as this seems out of context, there is an explanation! This is one of the only mentions in Irish mythology of a specific dance being performed by a god, and fitting with his status as a divinity, research shows that he was performing an ancient, Druidic magic called corrghuineacht aka “the crane dance.”
 
The position Lugh assumes is known as glám dícenn (“satire which destroys,” fitting for this poet-warrior,) and does more than mimic a crane standing in water. Lifting one foot from the ground is meant to place the dancer between worlds, while only one eye is open to block this world and see into the Otherworld. Traveling in a sunwise circle for prayer, blessing, and curses (Lugh, in this instance, is blessing the fighters,) was a common practice in Druidic worship, with infinity figures (circles and knots, foremost,) being the most iconic of Celtic symbols to this day. But the crane was also an important symbol in Celtic mythology: its ability to move between water, land, and air made it a symbol of shapeshifting and magic, as well as the moon to Lugh’s sun—a mirror of his prophetic powers and sacred to the triple goddesses of Irish mythology.

What does this all mean? On one level, it’s a really a beautiful way to view dance and emphasizes the deep, cultural roots of Irish dance in particular: dance in Ireland is something powerful, perhaps even magical, transformative, and of the natural world, tied to the land, the water, and the air of the isle. Lugh performing this dance is of particular significance as his rule as King marked 40 years of peace and prosperity on Irish land where the harvests were abundant and the cows productive—it associates dance with protection of the land and people, something steadfast, comforting, and elucidating in the face of the many invaders over Ireland’s long and often bloody history. Beauty in the midst of chaos—how else could you describe those flying feet paired with perfect posture?
 
Fun fact: there haven’t been cranes in Ireland for at least three centuries…but a nesting pair was spotted just this year! Up until medieval times, cranes were reportedly the third most common domestic pet in Ireland (after dogs and cats,) usually tamed and kept in the home, near the dinner table. (There are even claims that they were able to be trained to bow their heads in prayer!) Archaeologists also report that crane bones are the fourth most common bird bone found in Ireland, and scholars note that the birds are the second most common in place names throughout the British Isles. Industrialization led to the shrinking of their habitat and many thought the birds had moved on for good, but Irish company Bord na Móna has pivoted their purpose as peat harvesters and committed themselves to restoring the wetlands they had previously devastated. The company was proud to report the pair this past May—and while none of their eggs hatched this year, there’s high hopes for the next!
 
But there’s more about Lugh (and less about birds) to come…check out our post next week all about the holiday named after this multifaceted god!
 
This post is part of a series. Take a look at our last Irish Mythology post, all about the “King of the Faeries,” here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Part 1
 
Is your child interested in dance, but you’re not sure where to start? Why not Irish dance? We won’t try to convince you (check out these multiple posts in case you want some more convincing—we do have a strong case,) but thought we’d let our amazing community of parents tell you why SRL is the right choice, instead!
 
Looking for: exercise with purpose?
 
“It’s been great for working on his balance as well as giving him a way to learn something fun that he enjoys.”—Michaela
 
Looking for: a confidence boost?
 
“[Irish dance has given my dancer the] confidence in herself to be able to perform in front of large audiences. She is able to give herself goals to work towards and she knows that it will take time and hard work to achieve and is willing to put the effort in because she can see the progress happening.”—Jill

Looking for: dance that teaches life skills?
 
“There’s the movement, the exercise and athleticism, the focus that some children need to burn off the extra energy while learning self-discipline in a fun way.”—Siobhan
 
“The most important lesson [my dancer’s] learned are the benefits of hard work and never giving up.”—Judy

​Looking for: peer mentoring opportunities?
 
“I think Irish Step Dancing has been the first time [my dancer] has really felt challenged. But because she enjoys it so much and because of the guidance from the older girls…and of course from Miss Courtney’s teaching and motivation, she continues to try even when she gets so upset that she is not getting a step the first time around.”—Andrea
 
Looking for: a unique, year-round activity?
 
“Go for it!!! Some of the reasons I love it are because it is a year-round outlet for my daughter (and her dance mates.)  She does not have to wait a whole year for one recital.  She has competitions in the fall, performances throughout the winter and early spring, more competitions in the spring and summer, camp and other regular opportunities to dance, hone skills, perform, and become close with her friends.”—Siobhan
 
Looking for: musical appreciation?
 
“[Irish dance’s] upbeat cadence and structure definitely appeal to [my dancer] more than ballet or jazz dance. And as a musical family with 3 violin players, we love hearing the beautiful reels and jigs!”—Becca

​Looking for: a talented staff?
 
“[We were] looking for a focused experience that would allow her to continue to advance competitively. Working with Courtney, and now with the addition of Christian and Bailey, [my daughter] has continued to improve as a dancer…I can honestly say the time spent working with the teachers at SRL and the friendships she has forged with other dancers are by far the best things that have happened to her.”—Laura
 
Looking for: community and support?
 
“[Our dancers] have learned how to set long term goals and create plans to achieve them, time management and how to take corrections, the importance community and volunteerism, these are just a few.”—Ken & Dana
 
“I’m amazed at the choreography [my dancer] memorizes. I was so proud that she quickly gained the confidence to participate in a public performance and also do her first feis. I enjoyed watching her teach a dance to some younger Girl Scouts at one of our meetings last year, and I love that she has volunteered to help out at SRL classes with younger children—it’s all been a great growing experience for her in many ways.”—Becca
 
Looking for: a happy kid?
 
“Give it a whirl! Just be aware that anything hanging on your walls will be off kilter from your student constantly jumping and kicking down the hallways. 😉”—Becca

Looking for: a way to try things without commitment?
 
“[Our dancer] quit soccer, basketball, ballet, tap, AND jazz! We were just hoping something would stick. Courtney offered a week-long mini-camp that gave [our dancer] a chance to try it out before committing to anything long-term.”—Ken & Dana
 
If you’re looking for it for your dancer, SRL has it! While classes run on a school year schedule from September to June, we have a special offer to let new dancers get a taste before they sign up in the fall! SRL’s Intro to Irish Dance Summer Camp sign-ups are now open for new dancers 2-12, with an August session available at work-friendly drop off times for parents. Learn more about the program here, or feel free to reach out to our Office Manager, Devon, at 860-385-1107 or shoot her an email at office@irishdancetct.com. She’s happy to help!
 
This post is part of a series. Take a look at our last 411 post, all about our Tiny Jig program, here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Dance in Irish Mythology, Part 2

Who is the King of the Faeries?
 
Any Irish dancer knows what we’re talking about, and everyone else thinks we sound like we’re about to tell a bedtime story, so we’ll clue everyone in: King of the Faeries is one of Irish dance’s 38 traditional set dances. Traditional set dances are named for the music they’re set to (i.e. the trad set “Blackbird” is set to music titled “Blackbird”) and are unique from solo dances as they each have a relatively consistent set of choreography (though each school has its own, slight variation.) While dancers in the lower grades perform these trad sets at a fast-paced tempo, Champion dancers perform at a significantly slower pace to better show off their control and technique.
 
It’s believed that the trad set dance, “King of the Faeries” stems from a Scottish, Jacobite song titled “Bonny Charlie” (after Charles Edward Stewart, the “Rebel Prince” who attempted to reclaim his throne after his father was exiled) and also ironically made the rounds in the 1700s as “King William of Orange” and “Briton’s Glory” on English soil. Even in its original publication as a trad set in 1840 in Old Irish Folk Music and Songs did it have a different title—the long and baffling “Your Old Wig is the Love of My Heart.” By 1927 it had evolved in the more understandable title “The Lonesome Wedding,” and as late as the 1950s it was popularized in American-Irish communities as “Scollay’s Reel” after a Shetland fiddler of the same name. However, the Irish dance has long known it as “King of the Faeries” and lore evolved around the tune—it’s said to be a summoning song and that if played three times at a feis, the King will appear!
 
But the question remains…which faerie king will answer the call? Give it a listen here or here and let it play in the background while you read about the possibilities. We have quite a few options…let’s investigate some of the most interesting ones!
 
Our first contender is Finvarra (generally pronounced phonetically these days, meaning “fair-haired,”) King of the Daoine Sídhe (descedents of the god-like Tuatha Dé Danann,) and called “King of the Faeries of Connacht.” The best comparison to more familiar mythology would paint him as a Hades character—he is also considered the King of the Dead, is generous with favors to those who please him…and abducts the occasional mortal woman. We’re unsure what his beautiful Fae queen, Una/Oona, has to say about that! Their home is said to be Knockmaa in Co. Galway, and Finvarra is believed to be responsible for negotiating with the invading Milesians to save his people—though his peace treaty did force them to stay in the Otherworld, underground. This particular King of the Faeries is the reason no one wants to disturb a Fae mound in Ireland, as it’s rumored that under his leadership the Sídhe built many beautiful cities in their new home—don’t want to disturb them!

​Next we have Ailill (pronounced all-yill, meaning “beauty” or “elf,”)—more of a King Consort than a king in his own right, as he was chosen by Queen Maebh (i.e. Maeve, most likely the inspiration for the bane of all ) to rule beside her because he was “a man without meanness, fear, or jealousy, a match for [her] own greatness.” (Though he had to pay his own dowry for the honor of becoming the Milesian Faerie King of Leinster, despite also having claims to the Connacht throne.) Ailill is usually depicted as an extremely tall man with a ruddy complexion and a gold diadem. The full story of the couple after they initially fell in love is one of jealousy and sadness, but you can learn more about it if you wish here.
 
We could also consider lubdan (pronounced as it looks, meaning “leprechaun,”) who’s probably more of your idea of a faerie than any of the others. lubdan was the Faerie King of Ulster and the “Wee Folk” (aka the Faylinn) with his Queen, Bebo, and is best known for his boastful nature and diminutive size (a common trait among the Faylinn.) His best known story was his attempt to prove his bravery and worth by stealing some of the giants’ (aka the average-sized inhabitants of Ulster) porridge. The attempt failed and to escape his captors, lubdan had to relinquish his prized possession—enchanted shoes that allowed the wearer to walk on water. Read another tale about his exploits here.

And lastly: Midhir (pronounced roughly like mi-dear, meaning “to judge or measure”)—son of Dagda, a member of the Tuatha Dé Danann, though Midhir continued to live aboveground (in current day Co. Longford) after the Tuatha were defeated by the Milesians. Though Midhir is often credited as the creator of all the rivers and lakes that keep the Irish countryside so green, he’s more often referred to as a ruler than a god-like figure. He’s best known for what the Irish do best--a tragic love story that echoes Zeus and Hera’s relationship in Greek mythology. Midhir was quite the ladies’ man, though he was married to his Queen, Fúamach. There are many stories of Fuamach turning the faerie Midhir most favored—Étain—in to various creatures (usually something that flies, as Midhir is associated with birds) to punish her husband.
 
Kingship might not generally be a democracy by definition, but we’re American over here…who’s got your vote? Let us know in the comments!

This post is part of a series. Read our last folklore post, a general overview of the Fae's love of dance, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

If you can walk, you can dance!
 
Think your preschooler is too young to start dance? Think again! SRL Irish Dance Academy is proud to offer the Jump’n Jig program for our littlest dancers, aged 2 to 5!
 
Split into two age groups (2-3 Tiny Jig and 4-5 Pre-Beginner,) this program was designed by early-childhood expert and ADCRG, Fiona Holmes. Classes start with helping our newest dancers learn how to act and engage within a dance class and move on to developing motor skills and musicality (all while making sure there’s plenty of fun in the meantime!) And with each class starting with a friendly welcome where they can bring along their favorite stuffed friend from home, SRL’s adoption of the Jump’n Jig program has helped get even the most reticent new dancer into the studio!
 
There’s plenty of benefits to starting your child in Irish dance (and starting them early!) and both our Tiny Jig and Pre-Beginner classes cover all the bases: safe social interactions with peers, instructors, and student mentors, working on not just foundational dance skills, but listening skills, and a way to grow a sense of personhood and independence. Beyond that are the physical benefits! We utilize two movement stations—circle time for direct interaction and a “track” across the room to practice skills solo—to work on single leg balancing (adding accessory movements gradually,) leg and foot strength, foot placement for Irish dance, moving on or around markers and targets, and concepts like right/left and front/back. These skills form a strong base for all forms of movement (think about football players taking ballet!) and many Tiny Jiggers move on through the levels and become life-long Irish dancers!

Irish dance has a long and rich tradition and history behind it, but you don’t need to have Irish heritage to be an Irish dancer. While the steps and the music are part of Ireland’s cultural heritage, Irish dance has become a global community—and SRL is a tight-knit and supportive community within that larger sphere. In this encouraging environment, dancers are exposed to a culture beyond their own while they develop a strong sense of musicality and rhythm—learning to actively listen to the music, find the beat by clapping, and utilizing props so they can dance with the music instead of to the music (the hardest thing to teach a dancer!)
 
A successful SRL dancer isn’t just strong on technique—we see success as a confident, happy, and comfortable dancer! While classes run on a school year schedule from September to June (with every class available as in-person, online, or a hybrid model,) we have a special offer to let new dancers get a taste before they sign up in the fall! SRL’s Intro to Irish Dance Summer Camp sign-ups are now open and is a perfect way to judge your littlest dancer’s interest before committing more fully. With two sessions available at work-friendly drop off times for parents, your session also includes discounts on registration and your first four weeks of classes come September. Learn more about the program here, or feel free to reach out to our Office Manager, Devon, at 860-385-1107 or shoot her an email at office@irishdancetct.com. She’s happy to help!
 
This post is part of a series. Take a look at our last 411 post, all about our studio, here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Dance in Irish Mythology, Part 1
 
Faeries Love to Dance

Irish dance is unique from other popular dance styles—jazz, tap, modern—not just in technique, but in its deep-rooted ties to ancient Irish culture even as this artistic sport evolves into the present day. Learning and performing Irish dance isn’t limited to the Irish, but each step that’s taught stems from a place before Ireland’s written history, times full of magic and heroes and monsters that we can only call mythologic. While there’s not precisely proof of faeries (but don’t tell the Irish that--many still at least passively believe in the Sídhe, pronounced shee) and the people who lived beside them, one part of the stories is clear: faeries love to dance. (Want a quick overview of some of the basics of Irish mythology? Check out our post about the Tuatha Dé Danann, the ancient Irish gods, here.)
 
Any dancers knows that while dance is hard work and constant practice, there are moments where dancing can make you feel as if you’ve been transported to another world. Nowhere is this clearer than in Irish mythology, where tales of beautiful, unearthly music and dance partners so enchanting one can’t help but keep dancing, abound. As Greek mythology has the pomegranate seeds (and almost every known mythology has a correlation—Japanese, Norse, even Christianity) that trap Persephone in the Underworld, Irish mythology has dance. The sense of timelessness, peace, and joy we feel when we dance evokes the feeling the ancient Irish associated with the perfection of Tír na nÓg (the “Land of Youth” or the “Otherworld”)—a place where time is frozen and no one grows old. To dance with the Fae in their underground realm is dangerous game in Ireland—you may emerge unscathed, but you may emerge days, weeks, years later…or not at all. Time is a tricky thing in the Otherworld, after all!

​But, dancing for the Sídhe is more than a deception—it’s their most beloved activity! Yeats, world renown poet perhaps less known for his extensive work recording and examining Irish mythology, features dance heavily in his poems that focus on the legends of the Fae and all the associated creatures. For example, Leprechauns (read a fuller description of these mischievous troublemakers here) are typically excellent musicians and cobblers, with Yeats explaining: “Because of their love of dancing, they (the Fae) will always need shoes.” It was thought that a good dancer or musician was favored by the Fae with their blessing, but Yeats’s take uses dance and tales of the Sídhe as an exploration of idealistic, national pride as the world was changing around him. The constancy of national identity and tradition the Irish have fought long and hard to protect (dance included) exists perpetually and perfectly in the Land of Youth, no matter what skirmishes may be being fought above ground.
 
But this is all fairytales and stories, right? Well, most stories we tell children—to comfort or warn them—do have a root in reality somewhere. The concept of dance as an inseparable part of Irish mythology and culture may be due to the importance of ritualistic movement in Druidic times. Historians agree that pagan priests most likely practiced a ceremonial dance of sorts called cor deiseal (pronounced kor dy-ash-al,) from the Irish deis for “right hand” and deas for “South.” As the Druids were sun-worshippers (learn more here!), these dances were performed in complicated clockwise patterns to follow the sun’s path. These rites are considered by many to be the earliest form of Irish dance, and it’s no wonder the storytellers of Irish mythology picked up on these culturally important ceremonies and wove them in to their own tales.

With the first feiseanna in Ireland believed to be a literally three millennia ago at Tara—a site known for its ancient ruins that align with the sun on Samhain, featured in many an Irish legend—it’s clear that dance has been inextricably linked with Ireland’s culture and beliefs since day one. Even modern Ireland isn’t empty of this more ritualized form of Irish dance today! Visit any holy sites or wells in Ireland (popular on festival days like Beltane or Lughnasa, and many other religious holidays, both pagan and Christian) and you may see regular citizens walking clockwise around the site as they tie clooties to trees. Paganism has also seen a resurgence in Ireland in recent days, with huge festivals being thrown on ancient, holy sites that include music, dance, and celebrations so raucous one wonders if they’ll bring the Sídhe from the Otherworld to join in. How could they resist?
 
Tune in next week where we continue to explore the links between Irish mythology and dance by asking one, very important question: who exactly is the king of the faeries?
 
This post is part of a series. Read our last mythology post, all about Springtime Old Wives’ Tales, here. Check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.
​

Tradition. Passion. Dedication.
 
Welcome to Scoil Rince Luimni, also known as SRL Irish Dance Academy! We’re a small, independently-owned Irish dance studio located in South Windsor, Connecticut and we’re so happy you’re here. A little about us:
 
SRL was founded in 2014 by Courtney Jay, TCRG after she finished her BA in Irish Music and Dance at the University of Limerick. (In fact, that’s why we’re SRL—in Irish Gaelic Scoil (scull) is school, Rince (ring-ka) is dance, and Luimni (lim-nee) is Limerick!) Miss Courtney, as the dancers call her, has been an Irish dancer her whole life and has been teaching and mentoring younger dancers since she was 13. During her time in Limerick, Courtney trained at the Fleming-Ball School of Irish Dance, where she danced her way to 2 solo world medals, regional titles in solo and team championships, and top 10 at every international major competition. Before leaving Ireland, Courtney was certified by the CLRG (the largest and oldest governing body of Irish dance in the world) and then came home to Connecticut to create SRL!

​7 years later and SRL is a tight-knit community that instructs in the storied tradition of Irish dance for those as young as 2-years-old (check out Tiny Jig to learn more!) into adulthood (check out SRL After Dark to learn more!) We take this traditional art form and honor the artistic components while taking a modern approach to what has become a highly athletic discipline. We train our dancers to identify and work towards their own, personal goals—whether that be recreation, casual performances, or the competitive track. Our structured environment, supported by our knowledgeable instructors, focuses on the whole dancer: technique and whole-body conditioning to be sure, but also the promotion of healthy life skills (such as setting and achieving goals, teamwork, focus, and dedication.) In line with that, SRL offers mentoring opportunities at every turn—from class helpers to buddies at dancers’ first competitions and performances—and cultivates a spirit of support and community that’s really what Irish dance is all about!
 
Our small, but passionate staff is ready to help guide and encourage your dancer—whether they be just starting out or qualifying for Worlds—through structured lessons that optimize their opportunities to grow both as dancers and as people. While Irish dance has a long tradition (read more about its origins here!) and strong ties to Ireland’s national identity, you don’t need to be Irish to do Irish dance. As the Irish diaspora has spread across the world, Irish dance has become more than a traditional art form (though it retains those roots and music)—it’s a global community. All you need to join in is passion, dedication, and someone to teach you—and we’d love to help out!

SRL is registered with the CLRG, the Irish Dance Teachers of North America, and the New England Irish Dance Teachers. While classes run on a school year schedule from September to June (with every class available as in-person, online, or a hybrid model,) we have a special offer to let new dancers get a taste before they sign up in the fall! SRL’s Intro to Irish Dance Summer Camp sign-ups are now open for new dancers 2-12, with two sessions available at work-friendly drop off times for parents. Learn more about the program here, or feel free to reach out to our Office Manager, Devon, at 860-385-1107 or shoot her an email at office@irishdancetct.com. She’s happy to help!
 
This post is part of a series. Take a look at our last 411 post, all about the benefits of Irish dance, here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Name: Emily M.
 
Age: 17
 
Congratulations on qualifying for Nationals! It’s been so long since the last major in November of 2019—what are you most looking forward to this year?
 
I am most looking forward to dancing my absolute best this year, working to incorporate judges feedback with the hopes of improving placement or not getting the same comments each time. Competing with my friends is really important to me as we all support each other as one big extended family. No matter the school, level or the placement at the end of the day, we are always there to support and cheer each other on. I have missed that!
 
You must have changed so much since November 2019! What have you learned over the last year and a half about yourself as a dancer?
 
Since November 2019, I've learned more about my style of dance and complicated choreography that would suit me. I think it's important to take a step back and reevaluate yourself and your dancing to know what you want to achieve in your career. Doing this with the help of Courtney, Christian and Bailey has helped me become more confident in my dances and have created a structured mindset for my goals at majors.  
 
What past National competition was your favorite? Why?
 
Nationals 2019 in Vancouver would be my favorite because it was the first year I was eligible to dance. I was so incredibly proud and honored that I was able to go. I had always dreamed of dancing at Nationals and being part of that elite group and it finally came true!!
 
What have you missed the most about competing? (And what have you definitely NOT missed about competing?)
 
I miss competing so much!! My favorite parts of competing would have to be seeing my friends from other schools, being able to showcase what I've worked on and getting judges marks and comments on how to improve. I find the judges marks and teachers' feedback helpful as they have a different perspective on my dances and ways I can improve myself. 
 
What’s your proudest dance achievement so far? Any future dance goals you’re setting for yourself?
 
My proudest dance achievement is getting into Open Championships and having the opportunity to go to Nationals. I had always wanted to reach the highest level of irish dance but I wouldn't have gotten this far without hard work, teachers, friends and family. Dancing for fifteen years (irish dancing for twelve!) has taught me the importance of making friends that will last forever and enjoying the moment. Sharing an irish dance journey with my friends is the best thing I could've asked for. In the future I'd love to get the opportunity to compete at Worlds!!
 
What’s your favorite dance to compete in? Which do you think is your strongest?
 
My favorite dance to compete in would be slip jig! I love the elegant and balletic choreography and I love the music too! My strongest dances have always been soft shoe dances just because the energy and flow of each movement suits my dance style. Growing up watching Lord of the Dance and Riverdance had always interested me as the “good girls” would mainly do soft shoe and more specifically slip jigs. 
 
Have you ever visited Phoenix before? Any plans while you’re there beyond dancing?
 
I have never visited Phoenix before and I’m looking forward to spending some time there! My Mom and I are planning on making a road trip out of it and going to Las Vegas, San Diego and Los Angeles along the way!
 
As someone who’s been to Nationals before, what’s your advice to dancers competing there for the first time?
 
My first Nationals was nerve wracking as I didn't know what to expect and became overwhelmed. So my advice to those who are going for their first time this year is to just have fun and remember that you earned a spot to be there. When I first went I put so much unnecessary stress on myself and believed that I didn't belong. If you go into it with a good attitude, belief in your teachers and have a good mindset, you're ready to reach success. Remember to enjoy your moment and do YOUR personal best. The rest is out of your hands. ☘️
 
This post is part of a series. Take a look at our last Nationals Spotlight, with Gabby G. and Kellyann, here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram

Name: Gabby G.

Age: 17

Congratulations on qualifying for Nationals back in 2020! I know it must have been disappointing when last year was cancelled, but do you think this extra time has made you a stronger competitor? What have you learned about yourself as a dancer this last year?
​
I think dancing online was difficult for all of us, but I definitely think having the extra time to practice and learn steps has been really beneficial. Something that I have learned about myself is that I actually do have the creative mental capacity to re-choreograph a part of my step that had been giving me trouble. Choreographing steps in the past has been nearly impossible for me, but I was really proud of myself that I could successfully add in a piece of my own stylistic choices into my dancing.

What are you most looking forward to about Nationals?

I am looking forward to the atmosphere and just being somewhere new with some of my best friends. 

What have you missed the most about competing more regularly this year? (And what have you definitely NOT missed about competing?)

Something I definitely have not missed about competing are the wigs and the fake tan. I did miss the dresses and the running around the venue finding friends and watching other competitors dance a little bit, though.

What’s your proudest dance achievement so far? Any future dance goals you’re setting for yourself?

I think my proudest dance achievement is not really any specific award/placement, but how far I have come. I have collected a number of videos from practices of my dances and even just in a year, I can see how much some of my technique has improved. My goal for this Nationals is to try my best to not be shaken by the number of strong competitors.

Have you ever visited Phoenix before? Any plans while you’re there beyond dancing?

I don’t think I have ever visited Phoenix, though a couple of years ago my family took a trip around different national parks in Arizona. I am most likely just going with my mom, but we both love hiking, so after I dance, I think the two of us will be out hiking a lot during this trip.

What’s your favorite dance to compete in? Which do you think is your strongest?

I don’t know what it is about soft shoe, but whether it be slip jig or reel, I absolutely love it and I think that this will most likely translate into my dancing at Nationals.

What advice would you give a dancer hoping to qualify for Nationals?

​My advice would be to set goals and don’t stop until you’ve reached them. For every competition, whether it be a major or just a regular competition, I always set goals for myself and practice hard at dance and at home.

Name: Kellyann
 
Age: 16
 
Congratulations on qualifying for Nationals back in 2020! I know it must have been disappointing when last year was cancelled, but do you think this extra time has made you a stronger competitor? What have you learned about yourself as a dancer this last year?
 
Over the past year I have grown both mentally and physically as a dancer. This past year has been particularly challenging for me with the pandemic and ankle surgery in December, but the experiences ultimately grew my love for dance even more, which I did not know was possible. The additional year has given me more time to become even more motivated, in addition to granting me another perspective on the accomplishment of making it to Nationals. I have learned that when I put my mind to something anything is possible. 
 
What are you most looking forward to about Nationals?
 
I am looking forward not only to spending time with some of my favorite people in the world, all my fellow SRL National Qualifiers, but to achieving my ultimate goal from when I started Irish dance, dancing on the stage at Nationals. 
 
What have you missed the most about competing more regularly this year? (And what have you definitely NOT missed about competing?)
 
I have missed seeing all of my feis friends, who do not attend SRL, in addition to the feeling of being on stage. I definitely have not missed the early morning, bobby pins, and wigs over the past year. 
 
What’s your proudest dance achievement so far? Any future dance goals you’re setting for yourself?
 
My proudest dance achievement would be my Preliminary Championship first place at the Shamrock Feis, but I also am overjoyed by my ability to return to dance 3 ½ months post-op. My future goals for irish dance include qualifying for Open Champ, and recalling at Oireachtas for solos. 
 
Have you ever visited Phoenix before? Any plans while you’re there beyond dancing?
 
I have never been to Phoenix before. We are planning to spend time with my cousins who are also competing this year and exploring the area around the convention center. 
 
What’s your favorite dance to compete in? Which do you think is your strongest?
 
I love competing in reel, but I think that slip jig is usually my strongest dance. 
 
What advice would you give a dancer hoping to qualify for Nationals?
 
Do not give up, and do not get discouraged. If you have an unideal placement at a feis use the comments and experience to grow. Come to the next class ready to listen, acknowledge, and strive to correct your comments. With that being said do not let the placements define you and remember that you do Irish dance because you love it.
​
This post is part of a series. Take a look at our last Nationals Spotlight, with Balian and Kayla P., here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

The Look, Part 4: Male Costuming
 
Fashion, in or out of the dance world, has long been a female-dominated realm. However, while that means male Irish dancers have had significantly less changes over the years, they haven’t completely escaped the glamification of their costumes! Today we’ll take a look at that evolution and how our current expectation for male Irish dance costuming came to be.
 

While we know from our first installment (catch up here) that most Irish dancers started by dancing in their regular clothes, men’s costuming actually appears to predate women’s. Dance masters were typically male, and as they often dressed flamboyantly to help drive business, they were known by their fancy hats, swallowtail coats, breeches, white stockings/socks, and shiny, silver-buckled shoes. Due to British rules and restrictions (the impact of which was felt for 100s for years,) most male dancers simply wore their “Sunday Best” as their female counterparts did—typically a shirt and tie with breeches tucked into knee socks, a cummerbund around the waist. Similarly to female trends, as time passed there was a focus on traditional Irish fabrics and designs. For instance, in 1904, at the first Glens Feis in Glenarriff, Co. Antrim, the first prize for one of the competitions was: “a suit of Irish Homespun, presented by Hamilton and Co. Portrush, Co. Antrim.”

​​While kilts as a male clothing item is associated in our modern minds with Scotland, Irish dance has always been about the feet, so kilts became a typical item dancers (male and female!) wore for many years (largely from the 1910s to the 1960s.) Pipers first wore them, but as Irish dance and music are completely intertwined, the dancers eventually adopted the look at well. (If you check our previous post about Irish dance shoes, you’ll find Ireland and Scotland are intertwined in many aspects of their dance traditions!) Kilts were typically worn with a short coat and brat/cape (the male version a bit shorter and usually attached to the front of the coat with a Celtic design brooch—they’re a holdover from times of rebellion,) along with shirt, tie, and knee socks.

​These days, boys still have the option to wear a kilt, but since premiere of Riverdance in 1994, pants have gradually become the norm. Male dancers typically wear long (black) pants (though very young dancers sometimes perform in short pants,) a shirt, and often a vest and tie. For many years, it was a trend for male dancers to emulate the sparkling, bright dresses of the female solo dancers through their vests and ties. However, in recent times there’s been a movement toward more sleek, sophisticated looks rather than full on sparkle all the time!

And that’s a wrap on our series all about the whys and hows of Irish dance’s iconic look came to be! One of the most exciting things about being part of the Irish dance community is just that—it’s a community that is growing and evolving, changing as its influence spreads across the globe. You don’t have to be Irish to do Irish dance, but by entering the world of Irish dance you’re becoming a part of a living tradition that both honors the past while moving forward into the future. Through wigs, kilts, and beyond!
 
This post is part of a series. Take a look at our last “Origins of Irish Dance” post, all about modern female costuming, here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.

Name: Balian
 
Age: 11
 
Congratulations on qualifying for Nationals back in 2020! I know it must have been disappointing when last year was cancelled, but do you think this extra time has made you a stronger competitor? What have you learned about yourself as a dancer this last year?
 
I am disappointed I couldn't go to Tennessee, but I definitely think I am more prepared this year and a much stronger dancer. I feel I have much more stamina this year and my steps are more interesting to perform. This year, I have learned that doing fitness circuits has made my posture stronger.
 
What are you most looking forward to about Nationals?
 
I am looking forward to going to Arizona because it will be a new place to explore, and I am most looking forward to being up on stage. It's an amazing feeling!
 
What have you missed the most about competing more regularly this year? (And what have you definitely NOT missed about competing?)
 
I have missed seeing other dancers and I have missed the excitement of competition. Also, being a string player, I always enjoy live music. I have definitely NOT missed walking around feis hallways with girls crying everywhere.
 
What’s your proudest dance achievement so far? Any future dance goals you’re setting for
yourself?
​
My proudest dance achievement was winning 2nd place at Oireachtas and qualifying for 2020 Nationals.  My future dance goal is a secret, but Christian knows it.  
 
Have you ever visited Phoenix before? Any plans while you’re there beyond dancing?
 
Never been to Phoenix, but my dad and brother are making some surprise plans for when my competition is over.
 
What’s your favorite dance to compete in? Which do you think is your strongest?
 
I LOVE reels because I feel like I'm flying and I love the happiness of it. I think I am strong at reels because I love clicking in my reel shoes and I think I move well around the stage.
 
What advice would you give a dancer hoping to qualify for Nationals?

Make good use of circuits and workouts because your whole body needs to be strong, not just your legs! 

Name: Kayla P.
 
Age: 18
 
Congratulations on qualifying for Nationals! It’s been so long since the last major in November of 2019—what are you most looking forward to this year?
 
I am mostly looking forward to traveling for a competition again and all the memories that come along with that. 
 
You must have changed so much since November 2019! What have you learned over the last year and a half about yourself as a dancer?
 
I have learned that competing is not the main reason I love dancing so much, but rather just working hard and hanging out with friends.
 
What past National competition was your favorite? Why?
 
Vancouver! I recalled for the first time and I love Canadians!
 
What have you missed the most about competing? (And what have you definitely NOT missed about competing?)
 
I have missed spending the weekends with my mom and friends the most—and seeing progression in my dancing through marks and comments. I have not missed quick shoe changes and taping my shoes!
 
What’s your proudest dance achievement so far? Any future dance goals you’re setting for yourself?
 
World qualifying! And nothing too major, I’m more focused on enjoying my senior year of dance and dancing my absolute best at Nationals. 
 
What’s your favorite dance to compete in? Which do you think is your strongest?
 
Reel! And reel or set. 
 
Have you ever visited Phoenix before? Any plans while you’re there beyond dancing?
 
Nope! I hope to see the cool rocks.
 
As someone who’s been to Nationals before, what’s your advice to dancers competing there for the first time?
 
Enjoy it! Focus on yourself and all the hard work you have done leading up to this point. Take a big deep breath before stepping on stage and smile. 

This post is part of a series. Take a look at our last Nationals Spotlight, with Spicey and Bella J., here. Also: check out the blog every Monday and Thursday for more posts about Irish history, dance culture, community news, and spotlights on our dancers, staff, and families—among other fun projects! And don’t forget to dance along with us on both Facebook and Instagram.