Dancing like

Getting in step for St. Patrick's Day takes years for some Irish Dancers.

by Mary Eileen O'Connor features editor

Around St Patrick's Day, some people think Irish dancing is the result of a little too much Irish cheer at local bars.

For the thousands of people around the world who have dedicated their life to Irish dance, however, it is a serious business.

The pounding rhythm, sensuality, boundless energy and precision associated with the show ''Riverdance" has captured the world's attention and brought Irish dancing to the world stage.

But Irish dancing did not begin with "Riverdance." It is a long-honored tradition that for many dancers starts when they are just old enough to walk.

First-year student Katie Givey knows the hard work it takes to make it to the level that performers in "Riverdance" have achieved.

She has been Irish dancing at the Helene Campbell School of Irish Dancing in Havertown since she was nine years old, when she begged her parents to give her lessons after she saw Irish dancers perform at a nursing home.

It is a demanding lifestyle, one of practice and preparation for various competitions throughout the year. In their early years, dancers learn traditional Irish dance steps such as reels and jigs in soft shoes. As they progress, dancers get hard shoes in which they make rhythmic sounds and learn more complex steps. After the traditional steps are mastered, dancers can be more creative and choreograph innovative dances.

A feis (pronounced fesh) is a local competition. These competitions are held every month in cities throughout the

United States. Regional competitions are called oireachtas (pronounced uh-roc-tus ). In November, Givey competed in the Eastern Region Oireachtas, which for the first time was held in Philadelphia.

The rules of Irish dancing are determined by a commission in Ireland. In competition, dancers are highly scrutinized. They are judged on various aspects of their dance, such as timing, complexity of steps and presentation.

A dancer's arms must always be at his or her sides, there can be no space between the knees, dancing must be on the toes and the steps must be "polished and perfected;' Givey said.

There are also rules about the style of costumes. The designs on women's dresses are based on 'The Book of Kells" and each design tells a different story.

After years of practice, often two or three hours per day when preparing for a competition, Givey is now competing in the Open Championship level, the highest level of solo competition. She performs in both soft and hard shoes.

She has competed around the country, winning several competitions, including two in Arizona. She has competed in the North American Irish Dance Championships, where she usually placed in the top 30 out of about 180 girls. Givey also auditioned in Florida for a spot in ''Riverdance."

Givey said there are always blisters and sometimes twisted ankles and knee injuries as a result of dancing, but although it can be challenging, it is also very rewarding. "I dance in several different benefits;• she said. Among the organizations she dances for are Project Children, which raises money to bring children from war-tom parts of Ireland to the United States for the summer and Heart of Camden, which helps to refurbish homes in Camden.

Taking Irish dancing to another step

by Jennifer Nespoli l,)~7 features editor

A thunderous rumble erupts as 12 feet began to pound like drums on the scuffed hardwood floor. In the mirror that they face, their images dance across the room, feet flying and landing in perfect symmetry.

With their hands steady at their sides, they move solemnly but explosively. As the music rises and falls in rhythm, the dancers kick their feet up and stomp their heels on the floor in one fluid motion. Then at once they all come to a stop on the same note, hands on their hips and heels in an X position.

Adam Brennan smiles encouragingly at his roomful of Irish dancers, and they relax and wait for the next dance instruction to begin.

This is one of six adult Irish dancing classes in the area. The others are all taught by Brennan, who has found a new market in an already tight competitive industry. Typically tra- ditional Irish dance classes are geared toward children, who then grow up taking lessons and either quit by the time they are 16, or go on to perform in competitions.

Before this decade, adults were not considered a part of traditional Irish dancing. Anyone over 16 who had never taken classes could never begin. It was assumed that adults could not learn the intricate steps, or that their bodies were not physically able to handle the vigorous exercise.

Now that idea is changing, thanks to dancers like Michael Flatley and Jean Butler, the creators of ''Riverdance." They transformed Irish dancing when they developed the show, which is a non-traditional interpretation of Irish dance.

"It was the culmination of everything that I thought Irish dancing was," Brennan said of the first time he saw Flatley dance. "I knew that was exactly how I wanted to dance."

Brennan plans to continue the radiance and flamboyance that exuberate from "Riverdance" in his own dancing.

This is an especially busy week for Givey. On Saturday, she danced in a festival at the University of Pennsylvania and yesterday at the Art Museum.

She did not participate in Philadelphia's biggest St. Patrick Day's event, the parade in Center City, because, she said laughingly, it is "too cold."

She will also dance at local bars, or pubs, as they might be called on St. Patty's Day. This summer Givey hopes to go to Ireland and take classes at the University of Galway.

In addition to competing, Givey teaches four classes of Irish dancing three nights per week. She must wait until she is 21 to get her teaching certificate.

According to Givey, she will have plenty of children to teach. "Now that there has been 'Riverdance' and 'Lord of the Dance,' there are so manymore people [dancing]," she said. These young children will carry on the skill, pride and tradition that is Irish dancing.