This revival saw the beginnings of the modern Highland games that we see today only this time there was a lot more emphasis on Highland dancing. Unfortunately, to make judging easier at the games through the years the selection of dances that were available was whittled down gradually leaving just the 4 dances that we see today.
Throughout history it was only men that performed these dances and it was only during the late 19th century that women started to dance them. A woman named Lorna Mitchell came along and decided to enter one of the competitions and as there was no rules forbidding it, that the judges could find, she was allowed to perform. He celebrated his victory by dancing over his own bloody claymore crossed with that of his enemy.
Another legend says that a soldier would dance over the crossed swords prior to battle and should his feet touch the blade it was considered a bad omen.
The simplest and probably the correct version is that the dance was simply an exercise to develop and hone the nimble footwork required during swordplay. Something an early King or chieftain might have been looking for at the original Highland games. The Seann Truihas gaelic for old trousers This dance was supposed to show the highlanders disgust of having to wear trousers after the proscription of Another version of this is that a Highlander was showing of his new trews to the English king.
The targe shield was thrown down and danced around. Another says it comes from a young boy imitating the movements of a stag on the hillside, the curved arms symbolising the antlers.
As with the sword dance the simplest and probably the correct version is that the dance was simply an exercise to develop and hone the nimble footwork required during swordplay. The Reel of Tulloch — Ruidhle Thulaichean It is said that one very cold morning while waiting outside their church, waiting for the minister to let them in, the parishioners trying to keep warm started to stamp their feet and clap there hands. Distressing scenes could occur at the end of the day, with angry mums besieging the judges.
Meanwhile great strides had been taken to ensure the pipe band contests were judged fairly. Adjudicators sat within closed tents relying only on their hearing to select the best. Similar considerations could not be accorded to dancers until in interested parties got together to devise how to arrive at an overall policy that would ensure that standards were the same in all teaching and contests, dress and judging. All the steps in the dances were standardised, as was the order in which the steps should be performed — eight steps for the Fling, six slow and two quick for the Sword Dance, and eight slow and six quick for the Seann Triubhas.
A book was published which included judging standards, and finally dress for the dancers. A form of kilt dress for females was devised and out went the head-dresses, plaids, sporrans and belts and in came a fitted and boned velvet waistcoat with short-sleeved blouse along with the Kilt. The official board dress also put paid to the widely-used custom of schools of dancing dressing all their pupils on one particular tartan and style. It was like handing a visiting card to an adjudicator and intimidating the lone competitor.
National Dances became part of the contest scene in the s and with their introduction formed a very attractive element in addition to the Highland Dances. The National Dances mainly for girls had seldom been seen. The dances themselves are old but they brought a whole new dimension to the scene, being danced in an up-to-date version of he old Aboyne Dress for girls.
This consisted of a laced velvet waistcoat, ruffled blouse, belted plaid, full tartan skirt over petticoats, and either long white stockings or bare legs. Seven of the National Dances are now permissible at most contests. The S. Like many other dance traditions Highland dancing has changed and evolved over the years, integrating elements that may have their roots set in centuries old tradition with elements that are much more modern. Yet another story tells that a soldier would dance around and over crossed swords prior to battle; should his feet touch the blade during the dance however, then this was considered an ill omen for the following day.
Another and more practical explanation is that the dance was simply an exercise used to develop and hone the nibble footwork required to stay alive in sword play. The initial slow dance steps involve lots of leg shaking; symbolising attempts to shed the hated garments; the final faster steps demonstrating the joy of returning to the kilt when the ban ended in The Highland Fling — One legend associates it as a warriors dance of triumph following a battle.
It was supposedly danced over a small round shield, with a spike projecting from the centre, known as a Targe. The Reel of Tulloch Ruidhle Thulaichean — It was supposedly on one cold morning in the village of Tulloch in north-east Scotland, that many years ago the congregation were waiting for the minister to let them into the church.
To keep warm the people began to stamp their feet and clap their hands, and when someone started to whistle a highland tune the whole developed into a lively dance.
A set perhaps, later stolen by the cast of Fame! A more gruesome story however, links the dance to a game of football said to have been played by the men of Tulloch with the severed head of an enemy.
Travellers to Scotland over the past several hundred years have noted the Tartan worn by its inhabitants.
0コメント