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Irish Dance EssayDance has always been an integral part of companionable gatherings and it is likely that it evolved before or autonomously of medicine as we know it today, as the human body contains rhythms of its admit in heartbeat and breathing, therefore it is somewhat a natural instinct of movement. The earliest social dances were tirade and linear chain dances, dating to 1400-1200 BC, of these the ring dances, which used a sacred tree or oppose as central focus are roughly likely the overagedest. Couple dances arose in the twelfth snow as a break up of the line into pairs in procession, and/or in response to the courtly-love sentiment in the songs of the Troubadours, which developed within the courts of Europe presenting differentiation from court and folk dance. In particular, French cotillions a square dance for four couples developed and moved to England, America and Ireland as did the youthfulr quadrilles (sets). In Irish dance history specifically haye, ri nnce fada and rinnce mor are the three names used to referring to the action in old literature.The first reference to dance in the Irish language is 1588. Rinnce appears first in 1609 amd damhsa ten old age tardilyr. HB15 It is not until the 17thC that we have any real documention referring to dance not just confined to Ireland worldwide. Citm The customary lot in Ireland may have been dance more free-form, simple dance, to fiddle and pipes. As well as courting, dancing had important social ritual functions. Rinnce fada is described as being performed on May-eve and dancing is associated with different important times are the year, e. g.Bealtaine, births, weddings, wakes. It is a matter of speculation whether country dances had an identifiably Irish form, only seems highly likely that group dance was part of the native Irish tradition in this period. timber dance itself is an accurate, danceable performance genre that focuses chiefly in predetermined leg movements. D matc hless both in group or unaccompanied. hard shoes enhance the percussive nature of the treble keel, jig, stockhorn and solo set dances whereas soft shoes emphasise the graceful, airborne nature of the reel, slip/single/ arc jig.The primary solo Irish blackguard dances are the jig, reel and hornpipe. The jig is first mentioned in Ireland in 1674. Four variants exist within Irish dance traditions double, single, slide and slip, the to the highest degree common of these being the double. double up most common dance tune after the reel. 6/8 time characterised by rhythmic pattern of groups of three quavers. While jig tempo is generally lively when played solo, competitive dancers commonly call for a greatly reduced tempo in order to execute their complicated footwork. genius either 6/8 or 12/8 time. Crotchet followed by quaver. Associated with specific soft-shoe solo dance still performed in competitions today, usually by female dancers. A fast transformation of the tune is refe rred to as a slide and is used in the dancing of sets. Slide essentially dance music. Long-short rhythm of tune is echoed by movements of dancers. Dancing of sets and, along with the polka is particularly associated with music and dance traditions of Sliabh Luachra, where it is jolly tempo of 12/8 tunes that dominates. Slip 9/8 time.Distinct from other jig types usually in single form, continues to be danced in competitions usually by females in soft shoes. The reel is through to the music of tune type with same name and given its present dominance in music and dance, it may seem surprising that the reel is a relative upstartcomer to the Irish scene. Scholars are agreed that the reel as a dance tempo with its associated faster run acrosss and stepping did not attain universal habituality in Ireland until the late 18th century, whereas across the water in Scotland it had long existed in many forms.The hornpipe originates from the mid eighteenth century and has maritime connecti ons. The later, common time version do its way to Ireland where it was adopted by the dancing masters as a showpiece. Heavy stepping deemed it unsuitable for female dancers and for a number of years was but male domain. Today, is used in solo dance and certain set-dances. Most likely came from England in late 1700s. There it had taken its present form in 1760s and was a figure dance, its older forms in 3/2 time and was performed between acts of plays usually by professional dancers.In Ireland, it became the supreme display of obscure footwork. HB A sole reference in 1718 to the hornpipe is not necessarily a solo dance, as the measure was also used in some country dances. Very different initially to what it is known as. Other dances include The German is a variant of a nineteenth century prevalent continental schottische, adopted as a couple dance in Co. Donegal, in 4/4 time and similar in tempo to a barn dance. Mazurka 231 is in ? time and is a attack dance done by four couples , implemented more vigorously than the sensuous waltz.Adopted into Donegal tradition, it is one of the many local couple dances but is no longer commonly danced. Barn dance 25 is a form of round the hall social dance most popular up to mid-fifties that is generally performed to hornpipe time (4/4), but in relation to processing practice is danced to 6/8 time in north Co. Antrim. March 228 among the most ancient music forms in any country. to begin with related to military activities and incorporated into dance in Ireland to utilise the number of tunes so called.Quick swear out used in popular proto(prenominal) 1900s dance as the quickstep. in Irish tradition most common in 4/4, 2/4 and 6/8. During the ceili band ear many common song melodies were recruited as march tunes. Because of the redundancy of the bulk of traditionalistic music in dancing entertainment, the march has fallen out of popularity and will almost never be heard played except in a limited fashion in ceili danc es. Sean-nos 383 old style. traditional style of solo step dance. Freedom of arm movement, steps do not follow prescribed pattern and stepping is close to the floor. national presentation highlighted one of Connemara culture features which was unrecognised by and possibly even unknown to the administration of Gaelic League. Prior to the 1970s the local term was simply an bhatrail (the battering) and was on verge of extinction but much(prenominal) was the enthusiasm engendered by its new community staging, that many local people began to see this dance as a badge of culteral identity and a source of pride. Set dance 346 a set of quadrilles and comprises a combination of irish dancing steps and French dance movements, danced to irish music.Developed by 18C dancing-masters who traveled in various parts of Ireland. Originally taught solo step dancing and created group or figure dances for their less talented pupils. In time the also included new dances such as the minuet, cotillions , and quadrilles. Brought from France, to England, Scotland and then Ireland by military personnel and other travellers of the time. Dancing masters first taught them to upper classes in speculative country houses and later to the ordinary people in barns or at crossroads in the summer.Irish sets have most likely evolved from these or from other quadrilles that are no longer popularly danced. Today, most of the sets are named after their local town or area. Historically, set dancing has been frowned upon by religious authorities of all denominations. Set dancing had been banned too by the Gaelic League in the early 20C and new ceili dances were taught by the Dancing Commission. It enjoyed a remarkable revival all over Ireland throughout late 20C, attributable to work of individual set-dance teachers, and also to CCE and the GAA network of set-dance competitions since the 1970s.23. Main event of 18th C in dance terms introduction of reel and hornpipe measures. 19th C saw arrival o f quadrille. 25. Quadrille sets (or fractional sets for 2 couples), were initially ballroom dances, moved from polite society (via dance masters or local enthusiasts) to country houses of rural Ireland and urban centres. Far from adopting these new dances, the Irish dance tradition absorbed them and made them something new in terms of figures, musical tempo and stepping.This cross fertilisation of new imports with elements of older dances - settlement in a new and identifiably Irish product. 27. Certain areas became associated with particular sets. 28. Apart from sets, most popular new dances in 19th C were ballroom dances such as the scottische, barndance, military two-step and waltz. When reached areas where traditional dance was strong, absorbed into the repertoire and subtly changed by effects of Irish stepping and local musical tastes. Fintan Vallely The mate to Irish Traditional Music.