SCOTTISH DANCES

Dominion, Volume 26, Issue 286, 29 August 1933, Page 11

SCOTTISH DANCES

Obscurity as to Origin DEFIANCE AND SKILL Sword Dance Unexplained (Special to “The Dominion.”) Some of the Highland dancing at the competitions has been of a high standard, although in some Instances it has been adversely criticised by the judge". This type of dancing calls for a good deal of technical knowledge, and still more does it require that the dancer shall be inspired by the tradition behind it. ■ In one class competitors under 12 essayed steps that were beyond their years, and woiild have achieved, a greater measure of success by adopting the more simple step. An important criticism to which attention should be paid was the opinion expressed by the judge that in some instances the work of the children indicated lack of knowledge and experience on the part of some of the young teachers, who could not impart the knowledge they did not possess. ' ' , The sword dance, the national dance of Scotland, should really be seen from a level above that of the platform* in order that the intricate nature of the steps >may be observed. The writer, having viewed the dance from the gallery, asked the judge, Mrs. Braid, as to the history or origin of the dance. She replied that its history went back as far as the eleventh century, if not further, and that it was originally danced over two bared claymores, and not over a sword and scabbard as is the practice here. In ancient days the dance was a subject of considerable rivalry between the clans, and the dancers would keep going until exhausted. The most grievous error was to touch the claymore or sword, and any competitor doing so might just as well retire from the. contest. Mythological Story. This, however, did not tell the whole story of the Origin of the dance. Inquiries among one or two of the leading Scottish citizens brought to light a story which appears to be mythological rather than traditional. It is that centuries .ago a Highlander engaged two of his enemies and slew them. Their bodies fell in the form of a cross, and he danced his “danee of victory at their head and feet, thus originating the sword dance of Scotland. NO books or printed matter could be quoted, however, to support this Story, and investigations were pursued further. Several more leaders in the Scots world in Wellington were questioned, but with no conclusive results, and the chief of the combined Scottish societies was unable to give any definite. Information. One fact appears to be outstanding, and that was how very little the Scottish people of Wellington knew of their national dances. The Public Library was next resorted to, and every possible assistance was given by the city librarian, Mr. Joseph Norrie. Encyclopaedias only described the Scottish sword dance as a dance over crossed swords, but disclosed that sword dances were performed in the ancient days of the Assyrians, and that sword dances, varying in character, were performed in different countries of Europe. An English publication on European dances (failed to carry the subject of the Scottish sword dance any further. ' One of the most experienced teachers of Scottish dancing in New Zealand Said the sword dance became the national dance of Scotland as long ago as*the 11th century. All the clans, north and south, after a foray against each other or over the border, on reaching home would celebrate the event with the sword dance. It was danced over two crossed claymores, and the best dancer was the one who could keep it up the longest without touching the weapons. This coincides with the brief description given in a standard dictionary, “A dance among or over naked swords, intended to show the performer's skill,in avoiding injury.” ’ The old teacher explained that for many years it was regarded as a ‘dance of defiance,” and was danced by men only, who leaped in and around the claymores in bare feet with tremendous vigour and agility. “Compared wl-.li the old way, the dance as done to-day .is a “dance of timidity,” he added. He pointed out, however, that as performed to-day It was a scientific danee, and perfectly geometrical in design. Until about CO of 70 years ago the dance was commenced and performed to the left of the circle, when a dispute arose over the point, which led to the dance being performed to the right, and it has been danced in that way ever since. The man responsible for the change was e native of-Fife, named McLeod. , ' Harvest Time Festivals. In bygone days the great annual dancing events were usually held after the completion of the harvest, and until less than half a century ago were danced by men only. When the harvests were gathered in the workers tievoted themselfes to games, ( mainly dancing, and the more generous the harvest the more generous and prolonged was the nature of the celebration. , ■ . ' . , . Women and girls did not take part in competitive Scottish dancing until about 40 years ago. Highland dancing developed considerably after the Union of the British Isles, when prizes were awarded and competitive dancing was encouraged. 1 At the Braemar gathering at Balmoral only men are allowed to take part in the dancing. Even to-day nt some of the leading festivals efforts are being ,made to restrict competition to men only. , The apparent absence of any printed history of the Scottish national dances leads one to the conclusion that the position is much the same as with the English, Scottish and Irish folk songs. Until comparatively recent years the traditional dances have been handed down from father to son through the generations, and little in the way of diagrams, descriptive matter, or their history has been placed in print. Th.s position has largely been remedied in reference to folk songs, but, so far ns Highland dances are concerned, the scarcity of any literature on the subject offers scope for an Interesting book.