History of Scottish Dances
The Scottish form of dance originated before the birth of Christ. Through various cultural influences, Scottish dances developed specific characteristics. They were used to tell a story, seek an omen, pay tribute and to express their joys in triumph as well as their displeasures, thus making them a ballad in dance form. Accounts of intricate Scottish dance patterns (Swords included) were carried back to Rome by Roman emissaries and soldiers as early as 54 BC.
Highland dancing as it is known today was standardized in 1950 by the Scottish Official Board of Highland Dancing. This measure was taken to ensure that the best dancer would win based on technique and not just on what styles or steps were popular with the judges.
Highland Fling: This dance is one of the oldest Scottish Highland Dances, dating back to the eleventh century. The Fling was originally danced as a victory dance on a Scottish shield called a "targe." Since the ancient targe contained a sharp steel spike exending out of the center, the dancer had to be very careful in the execution of his steps.
Sword Dance (Ghillie Callum): The Sword Dance originated in 1054 with the great Malcolm Conmore when he defeated one of Macbeth's chiefs and crossed his own sword with that of his opponent's, whereupon he proceeded to dance a victory dance. Afterwards, this dance was performed in preparation for battle. The intricate footwork in passing over the swords kept the warriors mindful of the dexterity needed in climbing the thistle-covered hills of Scotland. Since the Scots were superstitious people, it was though that it the warrior touched a sword as he danced, it was a bad omen of the forthcoming battle, and probably meant he would be wounded. Had a warrior displaced the swords that usually meant he would be killed. Even to this day, should a dancer's feet displace the swords in competition, it is a bad omen as he or she is disqualified.
Seann Triubhas: When trnaslated from Gaelic means "old trousers." This dance commemorates the lifting of Parliment's ban on the wearing of the kilt as national dress in 1782. After the Uprising of 1745, the wearing of the kilt was a punishable offense. The shakes and shuffles in the dance represent the shaking off of the detested trousers or trews; while the quick tempo signifies the rejoicing over the return of the kilt.
Strathspey & Highland Reel: This dance represents the stag which played a major role in a Scotsman's life, providing food and materials for making weapons. The elevation of the dancer's arms represents the stag's antlers, the positioning of the fingers, the stag's head; and the steps, his antics.
Strathspey & Half Reel of Tulloch: A four-member team dance in which the steps send the dancers moving in and out creating interweaving patterns. These patterns represent eternal life and the incorporation of the Celtic design in dance form. Each dancer must depend on the other three to maintain the proper placement of the patterns.
The Hullachan (Reel of Tulloch): A dance in which four dancers perform at the same time starting from a square position. It is generally believed that this dance originated as a result of a snowstorm. One freezing Sunday morning, the church congregation at Tulloch was assembled outside the church awaiting the arrival of the preacher who was snowed-in. A few members of the congregation decided to keep warm by dancing,hence they started swinging each other by the arms as they danced highland reel steps.
Scottish Lilt: Is a national dance performed in an Arisaidh dress--ancient female attire. This garb was readopted when officials of the Aboyne Highland Games forbade women to wear the kilt. The steps are more feminine and graceful than the masculine Highland movements which are usually danced in the kilt.
Flora MacDonald's Fancy: A folk dance which honors Flora MacDonald for her role in smuggling Bonnie Prince Charlie out of the Scottish Highlands to the safety of the Isle of Skye. The Prince was disguised as Flora's maid in order to avoid detection by the English.
Wilt Thou Go to the Barracks, Johnnie?: The title says it all. This dance was originally done as a recruiting dance. When it was time to gather new recruits, each town was visited by a wagon of soldiers who would dance this dance. The quick and flashy movements were done to impress prospective recruits. Anyone wishing to join the regiment would signal by joining in this lively dance.
Highland Laddie: This dance is one of the lesser known national dances performed in a kilt. This dance demonstrates the freedom and ease of movement allowed when one wears the kilt. The Laddie is named after the tune that bears the same name which is a quick light tempo.
The Village Maid: This modern dance is done in either a white dress with a family tartan sash or in the Arisaidh Dress. The dance depicts the carefree life of a village maiden.
Blue Bonnets Over the Border: This national dance is probably the most graceful of all the national dances because it contains many balletic movements.
Scotch Measure (Twasome): A national dance that is soft and flowing and may be danced as a "Twa-Some" with a male and female dancer.
Earl of Erroll: This Scottish step dance dates back to the 1800s and is from the collection of Frederick Hill of Aberdeen. The dance was choreographed in honor of the Earl. This dance is the only national dance which has trebbles, a movement which is similar to a tap dance shuffle.
Sailor's Hornpipe: This dance depicts the daily life of a British sailor. The break throughout the dance represents the roll call, and the steps symbolize routine activities of the sailor such as swabbing the deck, rolling in of the anchor, hauling in of the nets, and lowering the sails.
Irish Jig (Scottish version): Legends concerning the origin of this dance vary from place to place. Among the Irish immigrants to Scotland were "washer women" who felt a great deal of frustration over their long hours and low pay. To ease their resentment at their employers, they would dance, and hence the angry gestures and stomping would prevail throughout the dance. Others say that this dance depicts the anger of an Irish washer woman whose laundry has just been soiled by a bunch of unruly children, or the anger of a housewife whose husband is late for supper, again.
