User:Folk Life/Backup/Sean-nós dance in America

BACKUP - 11DEC08

Sean-nós dance in America has its roots in the Irish culture, but may be practiced differently from how it is danced in Ireland. When the Irish peoples emigrated to America in great numbers when attracted by the availability of land during the early American Colonial period, or when escaping troubles in Ireland, they brought their dance culture with them. One of the many forms of Irish dance is the sean-nós dancestyle, which is an informal, spontaneous, solo form of dance. Sean-nós dance has both modified, and in turn been modified, by its interaction with similar forms of traditional vernacular solo dance in America.

Irish traditional dance
The most widely-known form of traditional Irish dance is competition-oriented Stepdance. Other popular forms of Irish dancing are for couples and group social dancing, such as Set Dance and the more casual dancing at a gathering called a Céili (AKA Céilidh). Another more specialized form of dance is the Broom Dance (AKA Brush Dance). Less known is the traditional freeform solo type called "sean nós" or "old style" dance.

Sean-nós dance
Sean-nós dance is characterized by its "low to the ground" footwork, free movement of the arms, and an emphasis upon a "battering step" (which sounds out more loudly the accented beat of the music). By its nature, it follows the music closely. In the absence of any musical accompaniment, the rhythmic nature of sean-nós dance results in a percussive music of its own. It frequently is danced by only one person, and even when danced in pairs or small groups, there is no physical contact between the dancers. Because it is a freeform, solo type of dance, it is not necessary for a pre-arranged routine to be decided upon by the dancer, and spontaneous expression is considered normal. Therefore, it is less common to see groups performing synchronized sean-nós dance (which requires choreography in advance). Instead, the dancers may dance in turns, playing off of the energy of the other.

Sean-nós dance's influence on other forms of dance in America
Sean-nós dance has made a significant contribution to American traditional informal freeform solo folk dancing, which includes Flat Foot Dance (AKA Flat-Footing), Hoofing (AKA Hoofin'), Buck Dancing, Soft Shoe (casual tap dancing performed in shoes without metal taps), Clogging (in its older non-show form), Irish Sean-Nós Dance, and the Irish Jig. (Various other names may be applied for this category of dance, depending upon the specific regional, language, cultural, or social group involved.) Solo Southern dancing and solo mountain-style dancing show strong influences from sean-nós dance.

I believe that to get some idea of the process of Southern vernacular dance development, we must consider it in parallel with its companion music and the dominant cultures that have mixed to produce it: British, African, and to some extent, Native American. These cultures began their intense musical interaction here in the 17th century, ﬁrst among African-Americans and then in the 19th century among British-Americans, especially in small Southern towns and nearby rural areas. A good example of Anglo/Afro interaction in music is the introduction of the banjo, originally an African instrument. It is quite certain that the interaction between the European ﬁddle and African banjo changed the styles and repertoire of both. African-Americans ﬁrst played these instruments together soon after being brought here, and the banjo/ﬁddle combination was the basis for the late 19th-century/early 20th-century mountain music to which most of our older dancers moved. - Mike Seeger, Musician, Documentarian, Ethno-Musicologist

Sean-nós dance in America today
Sean-nós dance is not widely found in America today. Some of the more prominent dancers are itinerant Irish citizens who are on tour or Ex-Patriot Irish who perform festivals on the side of their work or studies while here on work or study visas. A new generation of younger dancers of Irish-American heritage, or those who have a strong affinity for the style, are now offering workshops and demonstrations. Some dance studios are adding sean-nós dance via ad hoc seminars—often with a visiting instructor. (See External Links below.)

Minimalist means of preserving Irish music and dance
The Irish people's practice of sean-nós dance, sean-nós song, Lilting (AKA "mouth music"), and"the bones" (a simple percussion instrument convenient to carry in a pocket) represents a minimalist means of preserving their musical and dance heritage—despite concerted efforts by the English authorities to usurp Irish music, dance, modes of dress, language (see Irish Gaelic and Hiberno-English), Catholic religion , nationality, and history—or simply due to a dirth of resources when emigrating. Accordingly, the Irish in America have been able to promulgate the dance and musical aspects of the Culture of Ireland—even after large waves of migration subsequent to highly disruptive events in Ireland, such as the Cromwellian conquest of Irelandor the Irish Potato Famine (AKA the Great Irish Famine).

Irish Traditional Dance
The most well known form of Irish Dance is the formal, competition oriented Irish Stepdance. Another popular form of Irish dancing is Set Dancing for couples social dancing at a gathering called a Céili (or Céilidh). A specialized form of dance is the Broom Dance (or Brush Dance). Less well-known is a traditional informal freeform solo form in the Sean Nós or "old style" dance.

Sean-nós dance
Sean-nós dance is characterized by its "low to the ground" footwork, free movement of the arms, and an emphasis upon a "battering step" (which sounds out more loudly the accented beat of the music). In the absence of any accompaniment, the rhythmic nature of Sean-nós dance results in a percussive music of its own. It frequently is danced by only one person, and even when danced in groups, there is no physical contact between the dancers. Because it is a freeform, solo type of dance, it is not necessary for a pre-arranged routine to be decided upon by the dancer, and spontaneous expression is considered normal. It is less common to see groups performing synchronized Sean-nós dance (which requires choreography in advance).

Difference between Sean-nós dance and Irish Stepdancing
Sean-nós dancing is similar to the more formal, competition oriented Stepdancing, but is more freeform in its expression. Stepdancing is recognizable by its stylized traditional dance clothing, that the arms are kept rigidly to the side, and the dancer's face is supposed to be expressionless. In comparison, the Sean-nós dancers will be wearing their street clothing and their arms will most likely be moving to the rhythm, with the hands nearly meeting either in the front or the back of the person.

Competition oriented Irish Stepdancing can be danced with a soft or a hard shoe, depending on the type of dance. Sean-nós dancing is done exclusively with a solidly-built shoes so that the rhythmic sound of the shoe contacting the floor has a musical quality unto itself, so it can be danced without musical accompaniment. An audience or a dance partner isn't essential either, as this is a solo form of dance that a person can break out into simply for the joy of dancing.

Sean-Nós Dance: This is an old style traditional form of dancing that originated in the Connemara region  (west coast of Ireland). This is a low to ground stepping out to the music, very relaxed, similar to tap dance, but it is not the stage show event like the Step Dancing you see in productions of Riverdance. Sean-nós dancing is a very impromptu, rhythmic, and low key accompaniment to a lively traditional Irish band. The footwork "battering" is great fun to watch and listen to. These are typically done as a solo performer or in very small groups and are well suited to all ages. (often times the best sean-nós dancers, are the old timers in the dark corners of the pub).

Controversy over the roots of Sean-nós Dance
The roots of this form of dancing pre-date modern records, as it is related to the traditional folk occupying Ireland for centuries back in time. More recently it has been promulgated by Irish itinerant dance instructors and those who share it among peers at traditional crossroads dances (held at the crossroads in more rural ares) or at music sessions in Pubs (short for Public House, a form of Tavern in Ireland).

Debate exists about whether the dance steps have deviated from their original forms, as they question the scruples or skill of the itinerant instructors of the past, but others appreciate that at least some version of the dance form was preserved. Differences in Sean-nós dance between different regions of Ireland exist, so there is no singular definitive standard that can be applied by the purists.

Folk Music & Dances of Ireland, Brendan Breathnach writes: "The good dancer danced, as it were underneath himself, trapping each note of music on the floor, and the use of the half-door and table for solo performances indicates the limited area in which he was expected to perform." "They used to say, `A good dancer could dance on a silver tray, and a really excellent dancer could dance on a sixpence.' Now, any modern Irish dancer would fill the whole stage." But, why compare the two? After all, says Patrick O'Dea, they are two entirely different dances - one, a traditional "old style" of step dancing, and the second, a newer and less traditional outgrowth or variation.

Traditional Sean-nós dance surfaces can vary from a standard dance floor, to a door that has been taken off the hinges, a board placed across two supports, or even the top of a stool. In those cases, the skill of the dancer is shown by how well he can produce the various steps within the narrow bounds of the dance surface.

Sean-nós dance influence on other forms of dance in America
Sean-nós dance has made a significant contribution to the American traditional informal freeform solo folk dancingthat includes Hoofing (AKA Hoofin'), Buck Dancing, Soft Shoe, Clogging (in its older non-show form), and the Irish Jig. (Various other names may be applied for this category of dance, depending upon the specific regional, language, cultural, or social group.) Solo Southern dancing and solo mountain-style dancing show strong influences from sean-nós dance.

I believe that to get some idea of the process of Southern vernacular dance development, we must consider it in parallel with its companion music and the dominant cultures that have mixed to produce it: British, African, and to some extent, Native American. These cultures began their intense musical interaction here in the 17th century, ﬁrst among African-Americans and then in the 19th century among British-Americans, especially in small Southern towns and nearby rural areas. A good example of Anglo/Afro interaction in music is the introduction of the banjo, originally an African instrument. It is quite certain that the interaction between the European ﬁddle and African banjo changed the styles and repertoire of both. African-Americans ﬁrst played these instruments together soon after being brought here, and the banjo/ﬁddle combination was the basis for the late 19th-century/early 20th-century mountain music to which most of our older dancers moved. - Mike Seeger, Musician, Documentarian, Ethno-Musicologist

Sean-nós dance in America today
Sean-nós dance is not widely found in America today. Some of the more prominent dancers are itinerant Irish citizens who are on tour or Ex-Patriot Irish who perform festivals on the side of their work or studies while here on work or study visas. A new generation of younger dancers of Irish-American heritage, or those who have a strong affinity for the style, are now offering workshops and demonstrations. Some dance studios are adding Sean-nós dance via ad hoc seminars—often with a visiting instructor. (See External Links below.)

Minimalist means of preserving Irish music and dance
The Irish people's practice of "Sean-nós dance, Sean-nós song, Lilting (AKA "mouth music") and "The Bones" (simple percussion instrument made of cow shin bones or wood) represents a minimalist means of preserving their heritage—despite concerted efforts by the English authorities to suppress Irish music, dance, modes of dress, language (see Irish Gaelic and Hiberno-English), Catholic religion , nationality, and history—or simply due to lack of resources when emigrating. Accordingly, the Irish in America have been able to promulgate the dance and muscial aspects of the Culture of Ireland—even after large waves of migration subsequent to highly disruptive events in Ireland, such as the Cromwellian conquest of Ireland or the Irish Potato Famine (AKA theGreat Irish Famine).

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