The Sionna Set Dance...
Choreographed by Dr Catherine Foley
The Sionna Set Dance is a newly commissioned set dance choreographed by Dr Catherine Foley of the Irish World Academy of Music and Dance, University of Limerick. The Sionna Set builds on a two hundred year old set-dancing tradition in Ireland but incorporates tune types and dance movements that have not previously been performed in set dances. The theme of the set is peace, community and inclusiveness.
Seitrince nuachomisiúnaithe is ea Seitrince na Sionna agus is í An Dr Catherine Foley, Dámh Chruinne Éireann Rince agus Ceol, Ollscoil Luimnigh a rinne an chóragrafaíocht.
The Sionna Set Dance Publication:
The Sionna Set Dance was launched as an educational publication and is available from the Irish World Academy of Music and Dance on request*.
The publication includes:
- a 20 page illustrated booklet detailing the set’s movements
- an instructional DVD of the set as danced
- an audio CD with tracks recorded specifically for each figure
Web accessible material (click on the options below):
- Graphic instructions for the Sionna Set (Pdf document [3MB])....>
- Written instructions for the Sionna Set (Rich Text Format document)...>
The Sionna Set-Dance publication (Instructional Booklet, DVD and CD) may be used for educational purposes only. All rights reserved Catherine Foley © 2005. Non-commercial performances are permitted. No commercial performances or reproduction of the publication without authorisation of the copyright holder.
Excerpts from the booklet:
(Written by Dr. Catherine Foley)
- A history of Set Dancing...>
- The background of the Sionna Set...>
- Stair an tSeitrince...>
- Cúlra Sheitrince na Sionna...>
[Some illustrations from the publication]
A History of Set Dancing:
Set dances are prescribed communal dances of set or fixed figures. Generally, there are five or six set figures. A set dance is performed by a group of eight dancers - four couples, who make up a Set. Each couple is positioned centrally on a side of a square formation facing the opposite couple. Hence, in the US, these square-formation dances are known as Square Dances. In Ireland, they are simply known as “Sets” and when four couples are not available to form a full set, half sets are danced by two couples facing each other.
Sets in Ireland go back to the beginning of the nineteenth century. Sets derived from the French quadrille, a dance form that was performed within European royal courts and aristocratic communities. From these socially high beginnings, quadrilles quickly spread across Europe, the US, and indeed, the Caribbean, and came to be performed by different social classes. The first quadrilles were performed publicly in Dublin, Ireland, in 1816, and thereafter spread to different regions in Ireland. It is believed that soldiers returning to Ireland from the Napoleonic wars brought these dances with them. However, in Co. Clare, it is thought that Scottish soldiers or migrant Scottish sappers introduced the quadrilles. Whatever the hypothesis, the Knight of Glin ordered all dancing masters in his territory around East Limerick and North Kerry to teach quadrilles and other social dances of France and Portugal. Dancing masters adapted these “Sets of Quadrilles” to suit their patrons which included the peasantry and the gentry. These “Sets of Quadrilles” gradually became known simply as “Sets”.
Sets were danced to local, traditional Irish music and were generally named after the area. For example, the Ballyvourney Jig Set, the Kenmare Polka Set, the Fermanagh Quadrilles, etc. Sets, such as the Lancers and the Caledonian, were exceptions to this rule. Reels, Jigs, Hornpipes, Polkas and Slides were the characteristic dance tunes of the Sets in Ireland. In particular areas, some tune types were more popular than others. For instance, the polka was popular in the south of Ireland - Kerry and West Cork; the reel was popular in other regions of Ireland, such as – Galway, Clare, etc. Jigs and Hornpipes were popular in most areas where sets were danced.
Sets were popular social dances in Ireland, particularly in rural communities throughout the nineteenth century and up to the mid-twentieth century. Sets were performed at house dances, crossroad dances, fairs, weddings and other social events. In urban areas these dances waned around the beginning of the twentieth century and were replaced by ballroom dances – the waltz and polka, as the popular social dances. They continued to be danced in the countryside but began to decline around the 1940s due to processes of modernity and in part to the Public Dance Halls Act of 1935. From the 1970s and ‘80s a set-dancing revival emerged which spread Irish set dancing to the cities and towns of Ireland, and also abroad. Workshops, summer schools, céilis, competitions and publications of set dances followed. Today there are numerous set dances performed by the set dancing community.
Background of The Sionna Set Dance:
The Sionna Set builds on a two hundred year old set-dancing tradition in Ireland but incorporates tune types and dance movements that have not previously been performed in set dances. The theme of the set is peace, community and inclusiveness. Thus, in choreographing the Sionna Set I synthesise established characteristics of set-dance practice in Ireland with concepts and movements not characteristic of this dance practice. In doing so, I hope to make the dancing enjoyable and interesting for the dancer and to contribute to this dance tradition by extending its repertoire and the set dancer’s movement experience.
The Sionna Set was influenced by my own dance background and by peace and reconciliation initiatives in the North of Ireland, hence the theme of community and peace. The overall configuration of the Sionna Set aims at transcending some conceptual boundaries – choreographic, musical, and geographic. Generally, particular set dances have had associations with particular regional areas – Clare, Galway, Kerry, Donegal, Down etc, the Sionna Set aims at uniting these different regions through the choice of music and dance. The following section outlines this process.
Figure 1 of the Sionna Set is danced to a Highland Fling (4/4), a dance tune type generally associated with Donegal and Scotland. There are a couple of reasons why I selected the Highland Fling. First, as mentioned above, the Sionna Set was influenced by peace and reconciliation initiatives in the North of Ireland, and therefore I wished to include a dance type from the north of Ireland. Second, I knew the Highland Fling from my youth and had often danced it as a social, couple dance with my father in Cork. With the decline in its general performance as a social dance, I decided to adapt it for the Sionna Set for pedagogical, cultural, and social reasons. With the theme of peace, the choreographed figure in Figure 1 is “the Cross of Peace”.
Figure 2 is danced to a Polka (2/4), a set-dance tune type strongly associated with the southern region of Ireland. Figure 2 is choreographed in two straight lines as opposed to the more common square formation. The influence here was my cultural memory of the local set as danced in my father’s home place, Glenville, Co Cork; the set was danced in two straight lines and not in the traditional square.
Figure 3 is danced to a Slip Jig (9/8). Generally, the Slip Jig is not part of the set-dancing tradition in Ireland. It is more commonly associated with the female step-dancer’s repertoire in competitive step-dance culture. I chose the Slip Jig (9/8) to give set dancers, male and female, the experience of dancing to a Slip Jig, thus, transcending gendered and dance-type boundaries.
Figure 4 is danced to a Reel (4/4). Since set dancers generally like to dance to lively reel time, I chose to incorporate the Reel to generally represent the western region of Ireland. Reels are particularly characteristic of sets in Clare, Galway, etc.
Figure 5 is danced to a Waltz (3/4). Waltzes are popular, social, couple dances in Ireland. Throughout the nineteenth century and into the twentieth century they were characteristic dances not only in ballrooms but also at rural house dances. Waltzes are common today at weddings and other festive social occasions. Waltz-time music is not part of the set-dancing tradition in Ireland. In this figure, I incorporate the waltz as a couple dance, common all over Ireland and elsewhere, as a unifying dance that all regions have in common. Also influenced by Lancashire clog dancing, I include some clog steps to challenge and extend the set dancer’s movement experience and to promote inclusiveness.
Stair an tSeitrince:
Rincí ceaptha pobail le figiúirí leithleacha nó seasta is ea na seitrincí. Go ginearálta, bíonn cúig nó sé fhigiúr leithleacha ann. Ochtar rinceoirí a ghlacann páirt i seitrince – ceithre ghrúpa de bheirt, a bhíonn sa Seit. Lonnaítear gach beirt go lárnach ar shleas cearnóige ar aghaidh na beirte trasna uathu. Dá bhrí sin tugtar “Square Dances” orthu sna Stáit Aontaithe. “Seiteanna” a ghlaoitear orthu in Éirinn agus nuair nach mbíonn ceithre ghrúpa de bheirt ar fáil chun seit iomlán a dhéanamh, déantar leathsheit, beirt os comhair beirte.
Téann seiteanna na hÉireann siar chomh fada le tús na naoú aoise déag. D’eascair seiteanna ó quadrille na Fraince, foirm rince a rinneadh i gcúirteanna ríoga na hEorpa agus i bpobail uasaicmeacha. Ón tús ardsóisialta seo, scaipeadh na quadrilles go tapaidh ar fud na hEorpa, sna Stáit Aontaithe agus sa Chairib go deimhin, agus rinne aicmí éagsúla iad a chur i láthair de réir a chéile. Cuireadh na chéad quadrilles i láthair go poiblí i mBaile Átha Cliath, Éire, i 1816 agus ina dhiaidh sin scaipeadh iad go réigiúin éagsúla ar fud na hÉireann. Creidtear gur thóg saighdiúirí na gCogaí Napoléon na rincí seo abhaile leo nuair a d’fhill siad ar Éirinn. Creidtear gurbh iad saighdiúirí Albanacha nó imircigh sapair na hAlban a thug na quadrilles isteach go Contae an Chláir, áfach. Cibé acu hipitéis is fearr, d’ordaigh Ridire an Ghleanna do na máistrí rince ar fad ina limistéar thart timpeall ar Luimneach Thoir agus ar Chiarraí Thuaidh quadrilles agus rincí eile sóisialta na Fraince agus na Portaingéile a mhúineadh. Chuir na máistrí rince “Seiteanna na Quadrilles” in oiriúint dá bpátrúin, na tuathánaigh agus uaisle san áireamh. Tugadh an leagan simplí “Seiteanna” ar “Seiteanna na Quadrilles” de réir a chéile.
Dhéantaí na seiteanna a rince le ceol traidisiúnta áitiúil Gaelach agus ainmnítí an seit de réir ceantair de ghnáth, Seit Phort Bhaile Bhúirne, Seit Pholca An Neidín, Quadrilles Fhear Manach, 7rl. Ba eisceachtaí iad seiteanna ar leith mar Sheit Lancers agus an Seit Chaladónach. B’iad na sainfhoinn rince do sheiteanna na hÉireann ná Ríleanna, Poirt, Cornphíopaí, Polcaí agus Sleamhnáin. I gceantair áirithe, bhí éileamh ar fhoinn de chineálacha amháin seachas eile. Bhíodh níos mó d’éileamh ar an bpolca i ndeisceart na hÉireann – Ciarraí agus Corcaigh Thiar mar shampla; bhí an ríl coitianta i réigiúin eile ar fud na hÉireann - An Ghaillimh, An Clár 7rl. Bhíodh Poirt agus Cornphíopaí coitianta i bhformhór na gceantar seitrince.
Rincí an-choitianta sóisialta ab ea na seiteanna in Éirinn, sna pobail tuaithe ach go háirithe, i gcaitheamh na naoú aoise déag agus suas chomh fada le lár na fichiú aoise. Rinneadh seiteanna a chur i láthair ag rincí tí, ag rincí na gcrosbhóithre, ag aontaí, bainiseacha agus ag imeachtaí sóisialta eile. D’imigh na rincí seo i léig i gceantair uirbeacha, thart ar thús na fichiú aoise déag, agus tháinig rincí bálseomra - an válsa agus an polca, i gcomharbacht orthu mar rincí sóisialta coitianta. Lean nós an tseitrince faoin tuath ach thosaigh na damhsaí ag dul i léig thart timpeall na 1940aí de thoradh phróisis na nua aimsearthachta agus i slí, de thoradh Acht um Hallaí Rince Poiblí 1935 chomh maith. Cuireadh tús le hathbheochan seitrince san 1970daí agus 80daí agus scaipeadh seitrincí na hÉireann go cathracha agus bailte na tíre, agus thar sáile chomh maith. Tháinig ceardlanna, scoileanna samhraidh, céilithe, comórtais agus foilseacháin seitrince ina dhiaidh sin. Sa lá atá inniu ann is iomaí seit atá i gcnuasach phobal an tseitrince.
Cúlra Sheitrince na Sionna
Tá Seitrince na Sionna bunaithe ar thraidisiún dhá chéad bliain de sheitrince na hÉireann ach tá foinn agus gluaiseachtaí rince, nach bhfacthas a leithéid roimhe seo i léiriú seitrince mar chuid de. Is é téama na seite ná síocháin, pobal agus an chuimsitheacht. Nuair a thug mé faoi chóragrafaíocht á dhéanamh ar Seitrince na Sionna, rinne mé sintéisiú ar ghnéithe seanbhunaithe an chleachtais seitrince in Éirinn le coincheapa agus gluaiseachtaí nach saintréithe den gcleachtas seo iad. Is é seo á dhéanamh agam, tá sé i gceist agam an rince a dhéanamh níos taithneamhaí agus níos suimiúla don rinceoir, cuidiú leis an traidisiún rince seo trína stór a fhairsingiú agus cur le heispéireas gluaiseachta an rinceora.
Ba é mo chúlra rince féin agus tionscnaimh síochána agus athmhuintearais i dTuaisceart na hÉireann a spreag mé chun Seitrince na Sionna a chur le chéile, agus is uaidh sin a tháinig an téama pobail agus síochána atá ann. Is í is aidhm do chumraíocht iomlán Seitrince na Sionna ná tarchéimniú a dhéanamh ar theorainneacha áirithe coincheapúla – teorainneacha córagrafaíochta, ceoil agus tíreolaíochta. Go ginearálta, bhíodh baint ag seitrincí ar leith le ceantair réigiúnacha ar leith – An Clár, An Ghaillimh, Ciarraí, Dún na nGall, An Dún 7rl, tá sé i gceist ag Seitrince na Sionna na réigiúin éagsúla seo a chomhaontú tríd an rogha ceoil agus rince. Rianaítear an próiseas seo san alt a leanas.
Déantar Figiúr 1 de Seitrince na Sionna a rince le Flaing Albanach (4/4), fonn rince a bhfuil baint aige le Dún na nGall agus le hAlbain. Roghnaigh mé an Fhlaing Albanach ar chúpla cúis. Ar an gcéad dul síos, mar atá luaite agam thuas, b’iad tionscnaimh síochána agus athmhuintearais Thuaisceart na hÉireann a spreag mé chun Seitrince na Sionna a chur le chéile, agus dá bhrí sin theastaigh uaim cineál rince ó thuaisceart na hÉireann a chur san áireamh ann. An dara cúis ná go raibh cur amach agam ar an bhFlaing Albanach ó bhí mé óg agus ba mhinic a rinne mé é mar rince sóisialta, rince beirte, le m’athair i gCorcaigh. Leis an meath atá tagtha ar léiriú na Flainge mar rince sóisialta, shocraigh mé, ar chúiseanna oideolaíocha, cultúrtha agus sóisialta ar í a chur in oiriúint do Seitrince na Sionna. Le téama na síochána, is é an figiúr córagrafaíochta i bhFigiúr 1 ná “Cros na Síochána”.
Déantar Figiúr 2 a rince le Polca (2/4), cineál foinn seitrince a bhfuil baint láidir aige le deisceart na hÉireann. Dhá líne díreacha seachas an gnáthfhoirmiú cearnógach a úsáidtear i gcóragrafaíocht fhigiúr 2. Is í an chúis atá leis seo ná an chuimhne chultúrtha atá agam ar an seit áitiúil a bheith á rince in áit dhúchais m’athar i nGleann an Phréacháin, Co. Chorcaí. Dhéantaí an seit a rince in dhá líne díreacha seachas sa chearnóg thraidisiúnta.
Déantar Figiúr 3 le Port Luascach (9/8). Go ginearálta, níl an Port Luascach ina chuid dhílis de thraidisiún rince na hÉireann. Tá níos mó de bhaint aige le stór an rinceora chéime baineann i gcultúr iomaíochta an rince céime. Roghnaigh mé an Port Luascach (9/8) chun taithí a thabhairt do rinceoirí seit, fireann agus baineann, Port Luascach a rince. Déantar teorainneacha inscneacha agus teorainneacha chineálacha rince a tharchéimniú mar sin.
Déantar Figiúr 4 a rince le Ríl (4/4). Toisc gur maith le rinceoirí seit rince a dhéanamh le rithim beomhar ríle, roghnaigh mé an Ríl a tharraingt isteach ann chun léiriú ginearálta a dhéanamh ar iarthar na hÉireann. Saintréithe de sheiteanna an Chláir agus de sheiteanna na Gaillimhe atá sna ríleanna.
Déantar Figiúr 5 a rince le Válsa (3/4). Rincí coitianta, sóisialta, rincí beirte is ea na válsaí in Éirinn. I gcaitheamh na naoú aoise déag agus isteach sa bhfichiú aois sainrincí ab ea iad, ní hamháin sna bálseomraí ach ag na damhsaí tithe faoin tuath chomh maith. Tá Válsaí coitianta inniu ag bainiseacha agus ar ócáidí eile féiltiúla agus sóisialta. Níl ceol Válsa ina chuid dhílis de thraidisiún rince seit na hÉireann. Cuirim an válsa isteach san fhigiúr seo mar rince beirte, atá coitianta ar fud na hÉireann agus in áiteanna eile, mar rince comhaontaithe, rince coiteann do na réigiúin ar fad. Tar éis do rince paitíní Lancashire dul i bhfeidhm orm, tá céimeanna paitín curtha isteach agam chomh maith chun dúshlán a chur faoin rinceoir seit, chun cur lena thaithí ghluaiseachta agus chun meoin na cuimsitheachta a chur chun cinn.
The Sionna Set-Dance publication (Instructional Booklet, DVD and CD) may be used for educational purposes only. All rights reserved Catherine Foley © 2005. Non-commercial performances are permitted. No commercial performances or reproduction of the publication without authorisation of the copyright holder.
*Although the publication was produced on a not-for-profit basis and for education purposes only, a €10 donation is invited to cover the costs of distribution. The Irish World Academy can accept no responsibility to replace faulty or damaged DVDs or CDs. Please contact Dr. Catherine Foley by email or by telephone: 061 202922.
The Sionna Set publication was produced by: www.mediatician.com
02 February, 2008
