Scottish Country Dancer, Issue 30, April 2020

SCOTTISH

Country Dancer The Members’ Magazine of the RSCDS

No 30 April 2020

D E L L E C N A C

2

www.rscds.org

Message from the Chairman Following the deadline for this issue of the magazine, the worldwide impact of the coronavirus has become apparent to us all. Every branch and every member has been affected by it. Classes and dances have been cancelled and there is uncertainty over when they can resume. This year’s Summer School in St Andrews and Spring Flings 2020 in St Petersburg and Toronto have been cancelled. Go to our website for more information.

Your branch committees have had to make some difficult and unwelcome decisions, and they will be anxious about plans for the coming months. The health and well-being of all dancers and musicians must take priority, so I want to thank committees for their responsible behaviour, and at the same time encourage them to prepare for a time when dancing resumes.

We are a dance and music organisation, and we are also a fantastic social network. We cannot meet to dance but we can stay in touch, and for some members that will be very important. In the weeks ahead website updates, e-mails, social media, telephone cascades within branches and among classmates will be a real help in these difficult times, and they will sustain our enthusiasm to get back to dancing.

I also wish to thank our office staff, who are working remotely, for their continuing hard work. Regular e-newsletters will be issued to keep you informed and entertained. Enjoy this issue and by the time you read the next one, I hope we are all able to enjoy dancing together. In the meantime, stay safe and stay in touch.

Andrew Kellett, Chairman

Editorial With none of us dancing at the moment, the Editorial Team hope that you will enjoy reading about dancing. Our front cover reminds us of our roots in Scotland’s social dancing.

It shows Sir John Halkett of Pitfirrane, near Dunfermline, watching approvingly as some of his 14 children show off their dancing with his eldest daughter accompanying them.

Muriel Johnstone, whose name is synonymous with the best of our country dance music tradition, tackles an issue which many people have strong views on – the ‘original tune’ debate.

Marjorie McLaughlin of San Diego takes us back to the source of one of our most loved dances, Red House. John Bertram of Medicine Hat, now in Calgary, has a famous ‘dancie’ ancestor.

John himself once danced with our Patron, Queen Elizabeth. Jim Stott, with his long career in education, is a very appropriate person to write the Opinion piece. He defends the teaching of technique and has some challenging things to say about the future of country dance teaching in Scottish schools.

I would like to encourage you all to keep sending in articles, reports, letters to the editor, and anything that you think might be of interest to your fellow members everywhere.

Jimmie Hill, Edinburgh Cover: David Allan, Sir John Halkett of Pitfirrane, 4th Bart (1720-1793), Mary Hamilton. Lady Halkett and their Family. National Galleries of Scotland. Bequest of Miss Madeline Halkett of Pitfirrane, 1951.

Correction: Issue 29, page 10. The dancer holding Tibbie Cramb’s left hand is Doris McCutcheon. This was Doris’s first visit to Summer School.

Contents RSCDS Events

2

News from Coates Crescent

4

Chairman and Convenors’ Reports

6

Who’s Who at Coates Crescent

8

In My Opinion – Jim Stott

9

Let’s Relax about Original Tunes!

10

Celtic Connections Ceilidh

14

New Research Group

14

Focus on a Dance – Red House

15

Let’s hear it for Recorded Music!

16

From Montrose to Medicine Hat

17

New Zealand Branch Summer School

18

Winter School

19

Anniversaries 20 Young Dancers

22

Dancing around the World

23

Letters to the Editor

27

Reviews 28 Sadly Missed

29

Dancers’ Diary

30

Membership Numbers

30

The next issue of Scottish Country Dancer will be published in October 2020. Please refer to Notes for Contributors on the website.

Send materials for inclusion to the editor: mag.editor@rscds.org no later than 1 August. Please send enquiries about advertising to Cécile Hascoët: mag.advertising@rscds.org Editor Jimmie Hill Editorial Team Caroline Brockbank, Helen McGinley and Jean Martin.

Publisher The Royal Scottish Country Dance Society 12 Coates Crescent, Edinburgh, EH3 7AF Website www.rscds.org

Telephone Email 0131 225 3854 info@rscds.org

Graphic Designer Its All Good The Haughs, Cromdale, Grantown on Spey, PH26 3PQ info@itsallgood.org.uk t: 01479 870 435 Printer J Thomson Colour Printers Ltd, 14-16 Carnoustie Place, Glasgow G5 8PB

www.rscds.org

3

News from Coates Crescent Branch Anniversaries in 2020

Membership Services Committee

Congratulations to the following Branches, who celebrate significant anniversaries this year: Aberdeen 95 Cape Town 70 Dundee 95 Castle Douglas 70 Perth and Perthshire 95 Forres 70 West Renfrewshire 95 Monklands 70 London 90 Newcastle and District 70 Hamilton and Clydesdale 85 Sacramento 40 Manchester 85 Cornwall 30 Boston 70 Orlando 30

Peter Knapman (Convenor) Ian Muir (Music Director) Peter Avery, Angela Young, Alan Ross Appointed for 1 year: Ainslie Dunnett and Keith Rose

RSCDS Subscriptions The AGM in November 2019 passed the motion to reduce the annual subscription paid to Coates Crescent by £2 per member (subject to age and address related variations). With effect from 1 July 2020 the new rates are:

Sub HQ Category fee Members Adult single £18.00 £30.00 (25+) Adult joint £29.00 £48.00 (both 25+ and same branch and address) Youth £9.00 £20.00 (12-17) Young adult £14.00 £26.00 (18-24) Half year membership for new members only between January – June 2021 would be 50% of the relevant category.

The Board recommends that Branches increase their local fee by £2 per member, so that members pay the same as last year but Branches would have more funds available to support local SCD initiatives.

Joana Stausberg (Convenor) Moira Korus, Olga McIntosh, Aymeric Fromherz Malin Altenmüller, Philippa McKee, Margaret Lambourne

Vacancies and appointments in 2020 The list of management positions due to be filled at the AGM this November is below. Nomination forms are available from the office or on the website: rscds.org/volunteering In addition to completing the form, members must submit a profile outlining the skills and attributes they have to offer.

Guidelines on the reverse of the form give an indication of what should be included, but those considering standing for election are strongly advised to read the role descriptions for Board and Committee members. Please contact julia.parr@rscds.org if you have any questions. Nomination forms, profiles and photos must be received at the office by Saturday 12 September 2020.

Management Board Chair Elect + 7 members (3 for 3 years, 3 for 2 years, 1 for 1 year)

Education & Training 2 members (both for 3 years)

Membership Services Convenor Elect + 5 members (2 for 3 years, 2 for 2 years, 1 for 1 year)

Board and Committee membership for 2019-20

Youth Services

As a result of voting at the AGM and subsequent appointments to fill some vacancies, membership of the Board and Committees is as follows:

Convenor Elect + 2 members (both for 3 years)

Management Board

Motions from Branches to the AGM in November should be sent to Coates Crescent by Saturday 15 August 2020.

Andrew Kellett (Chairman) Lorna Ogilvie (Chairman Elect) Bill Cant (Treasurer) Anne Taylor (Convenor, Education and Training) Peter Knapman (Convenor, Membership Services) Joana Stausberg (Convenor, Youth Services) Linda Gaul, Theresa MacVarish-Clark, Sue Ronald, Roy Bain, Gary Coull Appointed for 1 year: Neil Copland

Education and Training Committee Anne Taylor (Convenor and Schools Director) Deirdre MacCuish-Bark, Mervyn Short, Anne Robertson, Chris Ronald, Deborah Leary, Sue Porter, Muriel Bone, Deb Lees

4

Youth Services Committee

www.rscds.org

Deadline for AGM motions:

New Music Director Luke Brady has been appointed as the next RSCDS Music Director. He will take over from Ian Muir in November. Luke has been a champion of Scottish music for over twenty five years. He leads his own band, plays at Summer School and has coordinated both Spring Fling and Winter School. Reflecting on his appointment, Luke commented, “The Music Director position is a big responsibility and one I am tremendously honoured to accept. Ian Muir will leave behind some very large shoes. I hope to bring an enthusiasm and energy to the role and am open to new projects and ideas. To that end, I will be setting up a Music Sub-Committee to make sure I have a wide range of experiences, talents and views feeding in to the musical future of the Society.”

Scrolls of Honour 2019

RSCDS Website News

Scrolls were presented to Jim Stott and Mervyn Short by RSCDS President Jean Martin at the AGM in November 2019.

On the website you can now find even more information about some of the dances and people included in our recently published Thirty Popular Dances, Volume Two. There is more to read about Miss Johnstone of Ardrossan and The Dancing Master as well as background information on James Coutts and his Scottish Dance Band, who recorded one of the two CDs. rscds.org/learn/resources-dancers/thirty-popular-dancesvolume-two

Errata Revisions for the Imperial Book 4, 5 and More can be viewed on the website: rscds.org/learn/resources-dancers/publication-updates It was noticed by many of you that the Thirty Popular Dances Volume 2, Part 2, tracks 10 and 11 are in the opposite order from that in which they appear in the list on the cover. We apologise for any confusion.

RSCDS Shop Jim Stott (left) and Mervyn Short (right) with Jean Martin

All newly qualified RSCDS teachers can now redeem their £5.00 off coupon online. Please visit: rscds.org/shop/

Catherine Elliot Shaw (on the left) from London (Canada) Branch was presented with her Scroll by Marie McLennan (on the right) at the Branch Christmas Dance.

What’s new in the Archive?

Exhibits from the Society’s Archive were on display at a reception for partner organisations held at 12 Coates Crescent. Items on display included old books and manuscripts, some of which were the sources for many of our dances. Perhaps the most unusual exhibit was Jean Milligan’s record player, dating from the 1950s.

She used it at some of her classes. It is still in good working order and it provided background music at the reception.

Explore the archives at archive.rscds.org

RSCDS Centenary 2023 Since April 2019 the Centenary Working Group has brainstormed the many exciting ideas put forward for the 2023 celebrations. Very useful feedback on a number of these suggestions was contributed

by RSCDS members who were present at the Open Forum during the Autumn Gathering weekend in Perth in November.

During the coming months the viability of some of the most exciting high-profile suggestions, involving other organisations, will be investigated. Full details will be shared when we have the ‘go ahead’!

Following the March Management Board meeting a start has been made in delegating responsibility for events and activities to Committee Convenors, and other individuals. They are being asked to focus on how to manage and deliver the practicalities of running both Scottish and worldwide celebrations. Branches and Affiliated Groups could, in the interim, start thinking ahead as to how they might celebrate individually, or in local groups, during 2023. Further details will appear over the coming months.

www.rscds.org

5

From the Chairman

Education and Training Andrew Kellett

It is a privilege to be Chairman of the RSCDS. I see, hear and read about the fantastic work that you, our members, are doing to promote Scottish country dancing and to help the Society move forward. Hopefully, it does not usually seem like work, but every time you take to the dance floor or play a dance tune or share your enthusiasm for SCD you are helping the RSCDS achieve its mission of creating a vibrant, worldwide community of Scottish dancers and musicians. Some of you, I know, do work very hard on behalf of the Society. Teachers, branch committee members, my colleagues on the Board and Management Committees and many others give hours of their time so that we can all enjoy dancing and the RSCDS can continue to operate. To all of you, a very sincere thank you.

Everyone involved in working for the Society knows it is important to plan ahead. Four years ago the RSCDS consulted widely on a Business Plan for 2017-20. That period is coming to a close and you can read how we performed against the Plan on the website: rscds.org/about/governance/legal-administrative At an Awayday in January the Board began work on a new Business Plan for 2020-24. We looked at the responses to the earlier consultative exercise and shared ideas with Committee members and staff. The draft Plan has been sent to branches for comment. It has four strategic aims: l To promote Scottish dancing globally as a fun and friendly activity l To help branches promote Scottish dancing in their area. l To provide appropriate support for Scottish dance teachers and musicians l To strengthen RSCDS governance and finance.

We all have a role to play.

Beneath them are specific actions, some of which are still being developed. One of those actions is to ensure that we have people with the right skills and talents on the Management Board and Committees. A successful organisation has a strong leadership team, and it is especially important for the RSCDS in the next few years that we have a first-rate team in place. Some of the people we elect on to the Board and Committees this autumn will be leading the Society in our Centenary year. If you want to help the Society and you have something to offer, do think seriously about putting yourself forward. Alternatively, you could nominate, with their permission, fellow members whom you believe have the ability to work at Board level. You can read more about what is involved on page 5, or have a look at the website rscds.org/volunteering or drop me an email at chairman@rscds.org If that’s not for you, think about volunteering for your local branch. Many branch committees are under-strength, and I am sure they too would welcome an injection of fresh talent and ideas in time for the Centenary.

The next few years will be an exciting time for the Society at every level, and we all have a role to play whether you are in the Board Room or extending a helpful hand on the dance floor.

6

www.rscds.org

Anne Taylor This is my first report for Scottish Country Dancer since taking up my appointment in November. At this point in time I am still settling in, although I have served on the E&T Committee a few times.

I am very happy to announce that the current Dancing Achievement Award (DAA) dances are now on-line on the website and although I have personally thanked the dancers who put themselves forward to be filmed, I take this opportunity to extend my grateful thanks to all those involved: organisers, teachers, dancers and musicians.

A new register of RSCDS qualified teachers The main task of the Committee has been to continue the work done on the Core Training for Instructors of Social and General Classes (CTI). The Committee felt that we should deliver this as soon as possible, and in order to do so, we have formed a sub-group who are looking at streamlining the CTI. We are also in the process of compiling a register of RSCDS qualified Teachers. This links in to one of our Strategic Plans identified in the Business Plan.

Winter School took place from 16 to 21 February. From now on the Winter School Co-ordinator will undertake two years in post, which means that William Williamson will be Co-ordinator for 2021. Numbers for Summer School are improving. However, due to financial decisions which had to be made, we were late in advertising. Our early bird applications have, therefore, been extended. We have retained Junior Summer School and the Youth classes to be held during week 2. A Ceilidh dancing class with simple Scottish country dances has been introduced in weeks 1 and 2. Teaching Skills courses will be in weeks 2 and 4. The Musicians’ Course is in week 3 with the Class Musicians’ Course in week 4. All the above are, as usual, dependent on numbers attending. We also hope to offer you up-to-date CTI developments by giving explanatory talks during the four weeks of Summer School.

We have good working relationships with national and international groups where Scottish country dancing takes place, whether it is the School Accreditation Programme, children’s classes and Medal Tests, adult classes, the DAA, Teacher’s Certificate classes, Examinations, Summer Schools and Winter Schools or just keeping in touch. We liaise with the Youth Services Committee and those organising Spring Flings and Fringes. There is no doubt that we are a National and International Organisation and we will try to help you wherever you are in the world.

I would like to thank members of our office staff at HQ for being on hand when help is required. I hope to meet up with you in 2020/21. Please introduce yourself wherever and whenever we may meet.

Membership Services Peter Knapman As I am sure most of you will all be aware, the Membership Services Committee was short of three members following the Autumn Gathering in November. I am now pleased to be able to let you know that since then we have recruited two people to join the committee as co-opted members for the remainder of this year. They are Ainslie Dunnett and Keith Rose.

I would like to thank them both for agreeing to give up some of their time in helping out on the various projects being progressed.

The main project for last year was to publish Thirty Popular Dances – Volume Two, which has been selling well. I do hope you have seen a copy or better still bought one. So far it seems to have been well received. Please let us know if you appreciate this type of book – additional information rather than just dance instructions. We have had some questions along the lines of – if this is volume two then where is number one? Volume One was, of course, the original Thirty Popular Scottish Country Dances, published in the 1990s. Updating this original book to produce a matching volume again with additional information seems like a worthwhile exercise. This would leave us with volume one containing mostly traditional dances and volume two with more modern dances all of which have, in historic terms, been recently devised.

The next combined volume of dances in A5 format is also being published this year covering books 39 to 45. The video project is progressing and it is anticipated that the initial edited videos will be available soon.

More than just a book of dances Other publications for the year include a book of six dances associated with Sir Walter Scott. This will be based on a leaflet that was originally published in 1820 and includes dances associated with Walter Scott’s novel The Heart of Midlothian.

2021 is the 250th anniversary of the birth of Sir Walter Scott.

As the original leaflet was published in 1820, a publication date later this year seems appropriate. It is planned that this book will contain the original 19th century instructions along with a modern interpretation of each dance. There will also be information about Sir Walter Scott and The Heart of Midlothian to give it a wider appeal: more than just a book of dances.

Historic dance instructions tend to be very much briefer than we would expect today, which raises many questions about interpreting these dances. How do we know we are right?

Does it matter? Should we be more tolerant of alternative interpretations? What do you think?

Progress continues with updating and improving the music resource section of the website. Have you had a chance to visit it yet? Whether or not you are a musician, you will find it both interesting and informative and well worth a visit. The Music Director makes regular updates and additions to this section and is always interested in any comments.

Youth Services Joana Stausberg The RSCDS is a vibrant international society rooted in Scotland. Youth Services events throughout the year reflect this, as do the new members of our committee. We welcome Margaret Lambourne from the International Branch and Malin Altenmüller and Philippa McKee, both based in Scotland. We continue to look for ways to support and include you and your local branch or club in our worldwide community of dancers. And by the way, we still welcome your stories on how and where you dance for our Young Dancers Database. Just write to ysc@rscds.org.

Thank you to all the dancers, teachers and musicians who participated in Global Youth Week 2019. Congratulations to Roxburgh, Selkirk and Peebles Branch. Their photos of smiley kids at the St Andrews Day ceilidh in Galashiels won the Facebook competition. Some of you also uploaded videos. A dance written by young members of Lyon Branch had its video premiere. Your creativity apparently needed an outlet. It is, therefore, only logical that this year’s Global Youth Week from 10 to 17 October will host the second Virtual Festival. We look forward to your interpretations of the festival’s theme, ‘A Scottish Celebration’.

We’ll show all the videos on the RSCDS YouTube channel throughout Global Youth Week. Make sure to send in your entry by 1 October. Find further information and the entry form on the RSCDS website.

We loved the variety of the entries in the 2018 Virtual Festival, but could see how difficult it was to choose only one winner. So we have reworked the criteria: this time there are two trophies: one for under-16s and one for mixed ages. We are also including special awards for ‘best team effort’ and ‘neatest footwork’.

Everyone can also get involved and vote for a team for the ‘people’s choice award’. We will announce the winning teams at the Autumn Gathering.

Dreaming of a growing youth network The two Spring Fling teams in Saint Petersburg and Toronto are busy with the final preparations, and it is really encouraging to see how many dancers have already applied for both events.

There are some places left if you are still looking for somewhere to dance in May! We are once again proud of the enthusiasm and professional attitude of the local organisers, and we look forward to seeing how the Society will benefit from their work.

I’m dreaming of a growing youth network in North America and a wider acknowledgement and inclusion of the lively Russian dance scene. However, if it’s just two really good occasions to meet and dance for dancers young and not so young any more, that’s fine, too. Fingers crossed coronavirus doesn’t get in the way.

We need two new members and a Convenor Elect in November.

We are a friendly bunch who meet by video conference and sub-group meetings. Maybe you are particularly interested in supporting families? Then help us with the family weekend, which we will finally make happen in 2021.

www.rscds.org

7

Who’s who at Coates Crescent Clare manages and directs the team to ensure the smooth and efficient running of the RSCDS office through an integrated approach to operational delivery. She also supports the Management Board to deliver the charitable and strategic aims of the Society.

Clare MacGregor

Moira Thomson

Officer Manager

Events Manager

Providing a friendly first point of contact for any telephone or email enquiries, Mairi also greets any visitors who pop into Coates Crescent and makes sure that you receive your shop order(s) and new members’ hard copy welcome packs in a timely fashion.

Mairi Marshall

Retail and Membership Officer

Sandra is our finance guru on all things expenses and budgets related!

Sandra Parish

Receptionist Administrator

Cécile Hascoet

If you have any questions about the core RSCDS events, then check with Moira as she works closely with the Schools Sub-Committee to organise the annual Winter School and Summer School events. She also helps organise the Autumn Gathering (which includes the AGM) as well as supporting the work of the Youth Services Committee.

Finance Manager

As the main contact for all Branch Officers, Cécile can guide you through various aspects of the membership database and can provide one-toone webinar sessions. Through her role supporting the Membership Services Committee, Cécile is also a great source of knowledge regarding Society publications and products.

Keen to explore the history of the Society? Why not contact our Honorary Archivist, Alan, to find out more! Alternatively, you may have some historical treasures relating to the Society or Scottish country dancing and music that you wish to donate to our Archive collections.

Alan Macpherson Honorary Archivist (Tues & Thurs only)

You may already ‘follow’ or ‘like’ Debbie since she manages the RSCDS social media platforms as well as collating news and events to produce regular Branch and member updates.

Debbie is also helping to develop the new RSCDS Marketing strategy.

Debbie Morris

Communications and Marketing Officer

As the office Creative, Kat works collaboratively with staff, the Board, Committees and Branches to deliver engaging digital and print artwork that promotes Scottish country dancing to audiences around the world and evolves the RSCDS brand.

Katherine Butler Graphic Design and Media Officer

Julia can help guide you through the various stages involved in the RSCDS Teacher Training program and help you participate in the Dancing Achievement Award (DAA) and Medal Tests. Julia also supports the work of the Education and Training Committee.

Julia Parr

Education and Training Officer

8

www.rscds.org

Offices in Edinburgh – Kelso - Haddington Dalkeith Tel: 0131 311 4700 or email contact@ermg.co.uk.

We are available for your Personal and Commercial Insurance requirements.

Feel free to let us know when your renewal is due and we can contact you nearer the time.

The Rogart Primary School dancers, taught by Monica Maclean, won the Jim Stott Shield at the Inverness Festival in March. This is what Jim means when he says that children love competing. Photo by Calum Mackay of Highland News and Media Ltd.

In my Opinion Jim Stott’s whole career has been in Scottish education as a primary schoolteacher and headmaster. Jim was Director of Summer School until last year. In this article he tackles several issues which he feels strongly about.

I have been teaching children Scottish country dancing for over 40 years and have enjoyed every moment. Children are so enthusiastic and are motivated by a challenge. One of the biggest challenges I gave myself was to teach dancing to children at many levels: ceilidh dancing, general dancing for all, RSCDS Medal Tests and dancing festivals. My aim was to enthuse young people to have a good experience when they were young so that they would dance at a later date. Much is said about dancing festivals, but I have found they are a great motivator for young people. Despite what people say, youngsters love competing and participating in competitions.

Preparing them for festivals gives great opportunities to develop steps, technique, phrasing and teamwork. The young people that I teach look forward to the next one every year! The numbers of dancers wishing to attend the Newcastle Festival show the width of interest in our dancing throughout Europe and the UK.

PE teachers trained in Scottish country dancing has seen the gradual decline in dancing taught in schools. I was part of the working group producing Jigs and Reels and Dance Trad. Both are excellent resources for schools. Perhaps Branches should offer classes to Primary school teachers to learn how to do Scottish country dancing.

The pressures in the Curriculum The curriculum nowadays is loaded with many other things.

Scottish country dancing covers many areas of the Scottish Curriculum for Excellence and I know just how much youngsters enjoy dancing once they get over the initial barriers. Begin with young people and you will find they want to continue throughout their primary school years. We need to do all we can to ensure that we encourage youngsters to dance.

Technique in classes I am concerned about our dancing style as a whole. Why have people abandoned teaching technique in favour of teaching ‘dances’. Handing is on many occasions very poor. Teaching good technique makes dancing easier and more enjoyable. As we get a more mature group of people attending our classes, working on technique above the waist should be more important. Teachers need to teach how to give hands; how to make eye contact with people; and how to maintain good posture and phrasing.

Travelling all over the world, as I do, opens your eyes to what is happening outside Scotland. There is a definite effort to teach good technique and keep our dancing style alive. I do not mean spending long periods in each class, but to make your class aware that SCD has certain footwork, handing, technique and phrasing.

Teachers must keep learning

Can festivals survive?

I am really worried about the survival of our dancing in the future. In Scotland, there are days of dance. They are great.

We need to have more of them. Unfortunately the demise of

Finally, dancing is for everyone. Most people just want to participate. They want to enjoy the friendship, fun and fitness that dancing provides. All you excellent young RSCDS teachers out there, remember that these dancers are the core of our Society. You need to encompass them and teach at all levels. Keep learning from more experienced teachers. They have a wealth of knowledge to pass on to you. I learned from attending workshops and hearing what other teachers had to offer. Little tips to make things easier to manage were invaluable to me. One day you will be the people responsible for keeping our dancing alive. We are in grave danger of losing our heritage to other countries. That would be totally unforgivable. Come on Scotland!

www.rscds.org

9

Let’s relax about original tunes!

By Muriel Johnstone B.Mus., L.A.R.M. Muriel Johnstone was RSCDS Music Director for 25 years, responsible for Books 28 to 42. As a distinguished class musician, she followed in her mother’s footsteps. As a composer, she has given us sublime tunes such as her 60th Summer School. In this article Muriel draws on her research and vast experience to throw fresh light on the issue of original tunes.

What does ‘original’ mean?

When an expression such as ‘original tune’ is used often enough, it becomes accepted as the correct term to describe the music used for a particular dance. If ‘original’ means ‘present or existing from the beginning, first or earliest’, it is clear that many of our so-called ‘original tunes’ are not original. In the RSCDS we have come to a point where far too much credence is placed on using the term ‘original tune’.

The historic background In Books 1 – 21 there are many examples of dances with their own tune, ie the title of the tune is the same as the title of the dance. Where these tunes originated or where they were first published is key to the argument that they were the original tune used for the dance in question. The early 19th century saw a proliferation in the production of printed dance

10

www.rscds.org

many more music and dance publishers emerge. A popular country dance tune of this era might be published in a dozen or more collections, each with different instructions, eg The Favourite Dances of 1812 composed by Nathaniel Gow as performed at his Annual Ball in George Street Assembly Rooms the 3rd of March.

The link between ‘tune’ and ‘figures’ that may once have existed for printed dances had waned. Dancers of the early 19th century were encouraged to invent fresh figure sequences each time they danced.

The process of selecting the tune and figures to be danced was known as ‘calling’ and was usually the responsibility of the 1st couple. Couples would take turns to ‘lead off’ a country dance from the top of the set; the Master of Ceremonies would liaise between the calling couple and the leader of the band. It is unclear at what date this convention began, but it was widely adopted by the start of the 19th century.

The term ‘original tune’ music. While a handful of London-based publishers had been responsible for most of the dance publications of the late 18th century, the 1790s through the 1810s saw

There is no mention in any of the early RSCDS books of the term ‘original tune’.

A tune is often described as ‘own tune’, which suggests, correctly in most cases, that the dance instructions and the

music had appeared together, eg Walsh’s Caledonian Collection (1748) has several well-known titles: Fairly Shot on Her, Ladds of Dunce, Muirland Willie, Soldier Laddie and Tweedside, all with the same title for tune and dance. But was this the original tune used for this set of dance instructions?

That particular Muirland Willie bears no resemblance to the dance in Book 21!

When or where the term ‘original tune’ first appeared I have not been able to discover.

Today many teachers and experienced dancers refer to a tune using the name of the dance, unaware that it may have a totally different name.

The early years of the Society In the early days of the Scottish Country Dance Society the aim was to collect dances and publish books of instructions together with music. The idea was to standardise the movements and the steps.

Mrs Stewart was an active researcher and her researches were transcribed into notebooks. Sometimes she would hear a tune, whistle it, and carry it in her head until she could transcribe it. Oral transmission is fraught with the danger of inaccuracy!

At the outset, Mrs Stewart and Miss Milligan, together with some advisers and musicians, made choices of tunes to match or suit the dances. In Books 1–21 there are 155 dances found with a tune of the same name. There are also lots of dances which came to us with no tune. Valiant attempts were made to find the name tune with the limited resources available. It would have taken a huge amount of time to research hundreds of collections and manuscripts to locate tunes of the same name. The body of work that is represented by the Society’s publications is of a very high standard, but is not without flaws. We should remember that, compared with today, old manuscripts and collections were not easily or quickly accessible. Painstaking searches and handcopying went on in the National Library of Scotland, mainly by Susan Inglis, one of Miss Milligan’s musicians.

What term to use?

In the many places where the music source is given, ‘source tune’ would be a good term to use. Even where a dance and its music are found together in a collection, there are often other sources for the tune, sometimes earlier and sometimes with a different dance attached.

Why did we not use the source tunes in these dances?

The Frisky – Book 26 Published in 1774 in Samuel Thompson’s Twenty Four Country Dances with its own tune. The Society uses Humber Jumber, a children’s singing game. A good source tune not used!

Lucy Campbell – Book 17 Tune used is The Hon. Mrs Campbell (of Lochnel), a Robert Mackintosh reel. The tune Lucy Campbell is a strathspey in Gow’s Beauties of the North Vol.3.

West’s Hornpipe – 5 for 1965 Tune used is Robertson’s Hornpipe. The dance is from The Ladies Pocket Book of 1797. The tune West’s Hornpipe was wellknown and found in many English Country Dance tune books but also in Kerr’s Merry Melodies. Another source tune not used!

None so Pretty – Book 19 Tune used – Johnny in the Nether Mains

by Niel Gow. The dance None So Pretty appears in Preston’s Twenty Four Country dances for the Year 1796 to a reel tune of the same name as well as in at least three other sources. Source tune not used!

Woo’d and Married and A’ – Book 16 This is a 9/8 jig from Wilson’s Companion to the Ballroom changed by the Society to 6/8, giving the dance a completely different feel.

After Miss Milligan died, the Research Sub-Committee had the task of collecting traditional dances for publication and selecting music. Today the tunes are the agreed choice of a group of people together with the Music Director.

Modern dances By the time the Society’s publications had reached Book 21 lots of devisers were writing new dances. In 1963 and 1967 the Society published our first two books containing newly devised dances – Books 22 and 23. Some of the dances were submitted without a chosen tune so music had to be found by the Publications Committee. The tune assigned was almost certainly not the tune to which the deviser had tried out the dance. It may be that the deviser had a particular tune in mind, but

this was not always found to be suitable. I served on that committee for a very long time. Whilst many choices were excellent, some of the tunes were unbelievably unsuitable! Some things just will not do!

Changing the tune Some dances are in circulation for quite a long time before being included in an RSCDS book. In the case of Best Set in the Hall, the dance enjoyed huge popularity, perhaps partly due to the music chosen by the deviser/original publisher. The Society published it with a different tune, which cannot, therefore, be described as the original because it was not the first!

So, how do we reconcile the term ‘original tune? The one submitted with the dance?

The one chosen by the committee?

The bigger picture I have looked through all 52 books plus the Leaflet Dances, Graded Books etc. in search of ‘original tunes’. There are c.170 where the name of the tune and dance are the same, but the source tune may not be the ‘original’. This represents only about 20% of RSCDS published dances. The majority are dances where the committee or the deviser have chosen the music or where a tune has been specifically composed.

The old familiar tunes Because class musicians and bands played the tunes published with the dances, these became well-known and strongly associated with the dance and its figures. I am thinking of dances like The Machine without Horses, Braes of Tulliemet, Corn Rigs, Petronella, Braes of Breadalbane, Duke of Perth, etc.

Most dancers of my generation would agree that hearing any of those tunes immediately brings the dance to mind.

Poor 2nd and 3rd couples!

However, it is worth remembering that it is generally only the first and fourth couples who dance to the ‘original tune’. Does this mean that the second and third couples are unable to do the dance? Of course not. A modern trend is for the band to play the ‘original tune’ only once – at the start! I think that is a pity because I like the idea of completing the loop and finishing with the first tune to say – We’re home! However, as a musician, I know that the choice of tunes in an 8 times through dance is more limited if you have to return to the first tune.

www.rscds.org

11

Strong feelings!

Teachers and dancers often have strong views about tunes. How many of us have been involved in discussions relating to original tunes? “I hate this or that original tune! I can’t play this original! No wonder this dance has ‘died’– stuck with an original tune like that! I don’t like this recording, even though it has the original tune, so can we dance to something else? Why lock up that great tune with such an awful dance?”

Let’s relax about it!

Despite having been brought up surrounded by a consensus of opinion that the original tune MUST be played, I have relaxed my stance. The whole point of dancing is to enjoy it, to dance to the best of our ability, to observe the sociability and courtesy, and to reflect the nuances of the music in our dancing. How can this be achieved if the source of the enjoyment and the impetus to dance – the music – is not of the highest quality? Therefore, in any given situation, the best music that is available should be used, whether that is the best recording (for tempo; for best match for the figures; for excitement) or the tunes that the musician can play best or enjoys most.

Insistence on having the ‘original tune’ will not necessarily achieve this.

My own experience In class I have played the music for every Society book. I cannot quickly recall the original tunes for the dances beyond about Book 27, (which probably coincides with the last time I danced regularly in a class) except for those that have become really popular, eg Fair Donald, Mrs Stewart’s Jig, John of Bon Accord. Apart from a few truly memorable tunes, I would have great difficulty in singing a tune for any particular dance after about Book 40. It is an accepted fact that a number of popular dances have become very firmly associated with their music: Maxwell’s Rant, Duke of Perth, The Montgomeries’ Rant, Mairi’s Wedding, etc. Add in the thousands of non-RSCDS dances with their own tunes, and the majority of dancers would not know if an original was being played for much of the repertoire.

Three practical examples Let’s have a look at three dances and the tunes most often played for them: Duke of Perth, The Montgomeries’ Rant and

12

www.rscds.org

The mystery of Lady Harriet Hope and Mrs Stewart of Fasnacloich 1932 – Book 8 Lassie wi’ the Yellow Coatie. The 2nd tune printed is Lady Harriot Hope from Nathaniel Gow’s Repository Vol 1.

1951 – Book 16 Lady Harriet Hope’s Reel. The 1st tune is untitled, leading us to believe it is Lady Harriet Hope, but is in fact Miss Margaret Graham’s (of Gartmore’s) Favourite by Mackintosh. Why was Lady Harriot Hope not used for the dance of the same name, since it was already known?

1973 – Golden Jubilee Leaflet Mrs Stewart of Fasnacloich. The tune is given the title Lady Harriet Hope’s Reel

by R. Mackintosh. This is incorrect. It is the same one used for Lady Harriet Hope’s Reel! i.e. Miss Margaret Graham’s (of Gartmore’s) Favourite.

2001 – The Leaflet Dances Mrs Stewart of Fasnacloich. The correction was made and the tune is Miss Margaret Graham’s (of Gartmore’s) Favourite!

Cadgers in the Canongate. Up until Book 21, the RSCDS published two tunes for each dance, presumably to give musicians a second tune to move into. The fact that in many cases this practice married together some very mismatched tunes is the subject of another discussion!

1. Duke of Perth Duke of Perth is a reel in C or 4/4 time. It should be played in the same style as tunes such as: Merry Lads of Ayr, Ye’re Welcome Charly Stuart, Lady Mary Menzies’ Rant, Argyll’s Bowling Green. At some stage it was decided that the tune was either too difficult to play as written or would sound better if the tempo was cut in half to make a simpler type of reel; so our ‘original’ has become a very different kind of tune altogether. All the above tunes are tricky to play and not many of these dances are seen on programmes. Some of them are used as ‘teaching’ dances. So, were the musicians of that period really very good or was the tempo for reels in the 18th and 19th centuries slower than today? Did the dances not catch on because they are not

very sociable or did the taste for this type of tune go out of fashion? Spare a thought for the class musician at a weekend school who is asked to play one of these ‘originals’ – which won’t be under their fingers!

2. The Montgomeries’ Rant I cannot find a tune called The Montgomeries’ Rant. The dance comes from the handwritten Menzies Manuscript with no music, described not as a reel but as a ‘strathspey reel’. The ‘original’ tune published by us, Lord Eglintoune, was chosen presumably due to a family connection between the Eglinton and Montgomerie families. Hugh Montgomerie (1739 – 1813) was the 12th Lord Eglintoune, an amateur composer and cellist, who is credited as the composer of our second tune, and the one most dancers will associate with the dance, Lady Montgomerie. At some point musicians – bands in particular – decided that this second tune was better or easier to play or suited the dance better and so it became the customary choice. The old Society recording by Colin Finlayson uses Lord Eglintoune, adhering to the practice adopted by the Society. I am sure that when this recording came out a lot of people must have wondered what the first tune was – never having heard it before!

3. Cadgers in the Canongate We have the same situation with Cadgers in the Canongate. The first tune is Cadgers in the Canongate, and the second is John McNeil’s Reel, very different in style. Thus we have moved away from the original matching of dance and tune in name and in style. To throw another anomaly into the picture, in one of the old collections I found Cadgers in the Canongate with dance instructions, but described as a strathspey. In Gow’s First Repository the tune is described as a reel, but has some dotted notes similar to a strathspey, which tells us that there was far less difference in tempo between a strathspey and a reel back then and the same tune could be used for either. On the old RSCDS recording, David Cunningham played the tune Cadgers in the Canongate and it is a stunning rendition, followed by other tunes in similar style (not including John McNeil’s Reel). Liam Stewart on the current Society recording uses John McNeil. Dancers have become accustomed to hearing John McNeil for this dance and they would

experience the same surprise in the case of The Montgomeries’ Rant if they heard the source tune. I am sure that they would enjoy dancing to David Cunningham’s recording, using the Cadgers tune.

Modern-devised dances The search for matching tunes goes on.

As in the beginning, they are decided by a group of people, led by the Music Director.

The choice of tune is often a more random exercise based on personal preference or by what is available at the time of the meeting when the music is chosen. This is not to say that there are not some splendid ‘marriages’ of dance and tune. However, to call the chosen tune the ‘original’ for the dance is only correct in that the dance may never have had a tune associated with it previously. In more modern times, many dances have ‘original’ tunes composed specially for them, which may or may not have the same title. These could perhaps be accurately described as ‘original tunes’.

It is inevitable that choices will be made based on people’s taste and preferences and what is in vogue at the time. This is as it always was. What is true, however, is that in the past, tunes were not so inextricably linked to a particular dance.

100 years of tradition The body of work in existence under the auspices of the RSCDS since 1923 constitutes a historical record of the development of the style of our music over a period of nearly 100 years. This should not be lost. We should ensure that the best of arrangements from the past are still available to musicians interested in the historical aspect of the Society’s work, preserving music in the way it was first published.

The role of research Today there appears to be an appetite for accurate research and for findings to be shared. In the interest of following the aims and purposes of the Society this should be encouraged. It is fascinating to discover new connections between the dancing and the music, how it was performed and what music was played. This does not invalidate the work done, but rather furthers it.

Fostering an interest in the history of our traditional music and dance is one of our aims. If this means correcting past errors or filling in some gaps, so be it.

Consider our musicians We also need to consider the load we are imposing on our musicians. l Musicians are expected to be able

to play an ever-increasing number of tunes. From the Society’s books alone, this amounts to over 700 – a staggering number! l The average dancer has little conception

of the years of work that go into becoming a competent (never mind an expert) musician for dancing. l The enormous and time-consuming

task of compiling sets of music for social dancing and for classes.

Today’s dancers are often more preoccupied with remembering ‘what comes next’ to be concerned that the original tune is being played!

A problem for bands One very valid concern often heard from practising musicians is that a great number of tunes that they have been playing for years within their selections of alternative tunes have now been ‘assigned’ to dances by the RSCDS. Does this mean that these have to be removed from the general repertoire and only played for a particular dance? This is where we have to stop and consider the need for flexibility.

A proposal It seems to me that the title ‘original tune’ is now being given an emphasis that was never intended in the past and that the older term ‘own tune’, is a much better way of describing the music used for those dances

where the name of the tune and the dance are the same. For all other dances, ‘chosen tune’, ‘suggested tune’ or ‘source tune’ might be preferable. It is also my opinion that insistence upon obscure ‘original’ tunes can be unfortunate when the result is disastrous, eg in the case of an inexperienced player being forced into the embarrassing position of being unable to play the tune and the class then complaining that they would rather dance to a CD. Even experienced musicians sometimes struggle with difficult or unseen pieces of music resulting in the first tune being played too slowly and then the music racing away when a more familiar tune appears.

Our priorities Perhaps the ‘purists’ who insist on ‘original’ tunes should consider the infinitely more important aspects of dancing by putting more emphasis on: l dancing for joy – joy in the movement,

joy in the music, joy in the company. l removing what is so often seen on the

dance floor nowadays – unnatural dancing bred out of fear of not being able to get through the complexity of figures such that very little attention is being paid to the music at all.

So why, in a Society that chose from the outset to be historically accurate, do we have such a rigid idea about what music should be played for a dance, when we modified the dance instructions, sometimes drastically? Let us introduce a little more flexibility into the ‘original tune’ conundrum.

RSCDS Ottawa Branch invites dancers to a special workshop, concert & gala dance weekend!

October 16-18, 2020

Musicians

Teachers Andrew Nolan Katherine Giacoletti

rscdsottawa.ca

Marian Anderson & her SCD Band

registrar@rscdsottawa.ca

www.rscds.org

13

Celtic Connections The Society sponsors one of the three ceilidhs that take place during the Celtic Connections Festival in Glasgow each year. John Carswell MC’d this year’s RSCDS Ceilidh Dance. For over 30 years John has brought Scottish dancing to thousands of the general public via Scotch Hop – Scottish dancing for all during the summer, held in the courtyard of Linlithgow Palace.

Celtic Connections is a large, well established folk festival held every year in the centre of Glasgow in the second half of January. It has a ‘programme of over 300 events that seek to shine a bright light on the blossoming vibrant roots music scene from across Scotland and the four corners of the world’.

However, it includes very little dancing. It

uses a wide variety of venues, from the Glasgow Concert Hall to refurbished churches and small venues for ‘come and try workshops’. This was the sixth year the RSCDS was involved – running a celidh dance in the Maryhill Community Centre, a former Methodist church which originally had a gallery and now has a concrete floor put in at that level to fill the gap, but still with the seating, making it look a little like an ice rink! The building is very run-down, but having heating and more lighting than last year was a big help. This is not an RSCDS event, but we decide the programme, the band and the MC. We had a wonderful full hall of 275 keen, lively, mainly young dancers plus several members, some of whom had come quite

Research Group Research into dances and music was one of the original aims of the Society, much easier now than it was in 1923. Peter Knapman gives the background to the new Research Group.

Why do we dance Scottish?

To have fun? To enjoy the music and the choreography? To continue the tradition? The last raises questions about what tradition is, and what, if anything, is valuable or important about continuing it. The Manual talks about ‘a living and growing tradition’ and also ‘remaining faithful to the essential spirit of the tradition which inspired our founders’.

Are we being faithful to the tradition?

How do we know if we are remaining faithful to the tradition of Scottish dancing in earlier centuries? One way is to undertake research. Some research was carried out in our early years, but it was limited to what was available and conversations with older people. Today we are far removed from the period where there is any ‘folk memory’ of the pre-1923 era, but we have access to a far wider range of historical country dance documents: dance descriptions, how formations and steps were danced and the music that was used.

Why do research?

Many of us are interested in ‘how we got to here’. Dancing an old dance can be a bit like travelling in time. It evokes emotions and wakens memories, but it also connects us to people and communities who played and shared the dances and music in another time. There has been a tendency to value our tradition only since 1923. Our group would like to take a broader and longer historical approach.

14

www.rscds.org

a distance. As it was a one-off event, it was a fairly basic dance programme but we had an Eightsome Reel, a Jacky Tar Two-step, a Gypsy Tap, The Riverside, Marches Hop (Social Swing) and the Martainn Maryhill Mixer. The band choice was for a Highland Schottische.

I was delighted to be MC-ing with the Martainn Skene Highland Dance Band – accordion, fiddle, keyboard and drums.

They have a great lively sound with plenty of lift and good sets of tunes.

It would be good if the RSCDS could become more involved in the Celtic Connections festival as well as other national events.

After all, Scottish social dancing is just as important as RSCDS-style dancing.

John D Carswell, Linlithgow

Our remit The Management Board agreed the following topics were relevant: l Revisiting earlier RSCDS dances to improve our understanding and interpretation. Many have fallen out of the repertoire, often as a result of a partial understanding of the source. l Researching previously unpublished historical dances with a view to publishing some of the more interesting. l Researching dance technique in the light of modern practice. l Exploring Quadrilles and their impact on Scotland.

Outcomes Research is of limited value unless there are outcomes. We propose to share our results by means of: l Publishing books with alternative versions of some of our older dances. l Articles in Scottish Country Dancer. l Talks at the Autumn Gathering, and Summer and Winter Schools. l Blog pages on the Website.

Research in context Country dancing in Scotland has always been an evolving tradition. Social dancing from the early 1700s until 1923 saw many changes in both repertoire and style. Whatever the outcomes of our research, we should not delude ourselves into believing that what and how we dance is or can ever be the same as was danced in previous generations. All we can do is try to understand the past so that we can shape and interpret what and how we dance today. It is also worth remembering that there cannot be, nor should there be, a single and uniquely right way of interpreting what was a cultural activity. The members appointed as the initial core group are Peter Knapman, Alan Macpherson, Jimmie Hill, and Marilyn Healy.

Focus on a dance Red House – Book 7 Marjorie McLaughlin, originally from Glasgow, and now a member of the San Diego Branch, has long had an interest in the history of our dances. In this article she looks at the origins of Red House and its subsequent interpretation by the Society.

Red House is a fascinating example of how a dance can be interpreted in various ways. Book 7 (1931) gives the source as Walsh’s Collection, 1731, but it had previously appeared in John Playford’s The English Dancing Master in 1695. The English Folk Song and Dance Society (EFSDS) had published it two years before us in 1929. The directions in both Playford and Walsh are virtually identical. Within the English country dance community, the tune, the number of bars, and the general flow of the figures has remained roughly the same. Bruce Hamilton, a long-time friend, has commented that the English and Scottish country dance traditions share river-like streams of continuity, though the English tradition has a wider range and tolerance for variations.

However, our Book 7 differs in three major respects.

We eliminated 8 bars of music The same tune has been used in every publication of Red House, but the Society omitted 8 bars of the A part, leaving the tune unbalanced. The dance in Playford, Walsh, and the EFSDS is a 48bar reel. Ours is 40. A tune of 40 bars is a challenge for musicians when planning arrangements, more so in our modern Scottish tradition in which multiple tunes are set to one dance. Tunes tend to balance themselves. As English Dance historian Colin Hume notes, ‘A1 and A2 are a matched pair, as are B1 and B2, and C1 and C2’. So why did we cut 8 bars of the music?

The 1. cu. meet and set and cast off into the 2. cu. Place. Then meet and set again and cast off into their own places.

This describes 16, not 8, bars. The English interpretation of this is: 1st couple advance and retire, set, then cast off.

1st couple advance and retire, set, then cast back up.

There seems little reason for us to have eliminated the advance and retire as retaining it would have allowed the tune to maintain its balance. Another peculiar decision about our version is the admonition that the 2nd couple does NOT step up on bars 3 and 4, and down on 7 and 8. The Playford version states that the 1st couple casts off ‘into’ the 2nd couples place – a challenge should 2nd couple still be occupying it! All the English dance interpretations specifically include stepping up then down. Some modern English groups have the 1st couple advancing, retiring, setting, and the 2s stepping up as the 1s cast, then the 2nd couple repeating the first 8 bars from 1st position, thus avoiding the 2s doing very little for the first 32 bars.

Red House instructions from the EFSDS

The reels should have been across the set Perhaps the most baffling interpretation in Book 7 is the reels in the last 16 bars of the dance. In Won’t You Join the Dance Miss Milligan states emphatically, ‘The reels in this dance are difficult’.

This flies squarely in the face of our advice to all trainee teachers that one never tells the class that something is ‘difficult’. The reason they are ‘difficult’ might be because Miss Milligan made them difficult by placing them on the sidelines between 1st and 2nd place! Playford describes the reels thus: The 1 cu. and 2. Man go the hey, till they come into their own places.

No progression occurs in this description.

The EFSDS description is clearer and far more easily danced than our Book 7. Both versions have 2nd man dancing the reel (hey) with the 1st couple, and then 2nd woman dancing with the 1st couple, which includes the progression, but in the English version the reels are danced across the set, not on the sidelines, and the difference is dramatic. The progression in the last two bars is much easier than what we have substituted: 1s end the hey by casting down into 2nd place, 2s leading up to first place.

The last two bars with the 1s casting and the 2nd woman joining hands with her partner to dance up to 1st place are elegant and graceful and certainly not ‘difficult’.

Red House in Walsh’s Compleat Country Dancing Master

The first 8 bars were originally 16 The original Red House is a beautifully balanced tune and dance, consisting of three distinct 8-bar figures, each repeated. The first 8 bars of our Book 7 version has the 1st couple setting, casting off one place, setting and casting back to top place. The source instructions are:

Conclusion Dance is a living, evolving tradition, and yet some practices are long-standing and not easily changed. Red House continues to be a popular dance in both the Scottish and English traditions, and it is not necessarily my intent to say that we need to modify the way we dance it, although my personal preference would restore it to its full 48 bars, restoring the advance and retire, and make the reels across the dance. Having more complete information and access to historical material can and does change established practice, but at the very least it seems worthwhile to be aware of varying interpretations and perhaps more open to adaptation. And, perhaps, less adamant about not stepping up!

www.rscds.org

15

Let’s Hear it for Recorded Music! playlists are also a good idea so you can select, for instance, a series of reels with the right impetus for teaching pas de basque.

Store different recordings of the same dance You can then choose an appropriate recording for the age and experience of the dancers and the state of the floor. Everyone will have their own favourite bands and recordings; the best ones give a good crisp sound with clear rhythm. Among my own favourite all-purpose RSCDS CDs are those for Books 7, 11, 20 and 34 – not necessarily packed with dances we do often, but lovely steady recordings with fantastic tunes that can be used for many disparate groups of dancers. The Drummer is rarely danced, so I love to use it with children for The Grand Old Duke of York.

Versatility Whilst the received wisdom is that live music is more versatile (because you can ask for eight bars, or the music to be played slightly slower), recorded music can also allow for more flexibility.

You don’t have to plan your lessons weeks in advance, and you can change your lesson plan instantly, mid-class, without upsetting a musician who has done careful preparation to your specifications.

In a previous issue Caroline Brockbank asked for members’ experiences of using recorded music.

From LPs to MP3 players Some teachers are lucky enough to work with a musician, and some groups book bands regularly, or for the occasional special event.

Many more of us, however, rely on recorded music. Many of us teaching today learned to dance to a record player, complete with jumping needles and scratched vinyl. We moved on to cassettes and then CDs took over. Then along came digital files, MP3 players and the capacity to store music on your phone, tablet, or iPod, or stream it when required.

A selection of media players is now available.

Graham Coles in Bristol uses Media Monkey, a music manager, mentioned in The Manual. It has spreadsheet characteristics to regroup tracks in different ways: by deviser, book, etc. The default ‘Album Art’ property would be to show a CD front cover, but Graham has used this property to store a copy of cribs converted to image format. Apps such as Audacity allow you to take, for example, a Jimmy Shand recording and slow it down to usable speed. Graham also has ‘Amazing Slow Downer’ on his laptop, which he uses to store a speed-adjusted copy of the music in advance to avoid the interruption caused by doing this in front of the class. Many of us use iTunes; and RSCDS recordings can now be accessed via Spotify – invaluable when caught out with only a phone.

Playlists are your friend I have dozens of playlists on my iPod for every tempo, number of bars and number of repetitions so that I can instantly find a 4x48 jig or 3x32 strathspey. Accessing tunes this way avoids the class getting restless whilst you search for a track, or being subjected to The Clash instead of Muriel Johnstone. Recorded music must be as immediate as using a musician. So, playlists mean you have the right music organised together, ready to go before you start to teach. I have playlists labelled, for example, ‘high octane reels’, ‘steady jigs’ and ‘student ceilidh’. I also have ‘gathering tunes’, for welcoming dancers to the hall and setting the mood. Which is an advantage of recorded music over live – you can provide endless incidental music without ever feeling you are taking advantage. Step practice

16

www.rscds.org

Eight bars please…

A musician can play 8 or 32 bars and then stop. Recorded music obviously doesn’t have this facility, but you can turn it to your advantage. You can encourage the class, on occasion, to count bars and wait for the right point to start dancing, which helps them appreciate the barring and the changing tunes. In the days when you dropped the needle on the record and hoped for the best, waiting until the start of the phrase was something you had to do all the time! Using recorded music you can occasionally ask the dancers to stand for 8 bars and try the figure again, several times if necessary, which avoids the teacher using the first 8 bars of the track over and over. Or you can get the set to stand for 32 bars mid-dance and count until the next time through, perhaps picturing the figures in their head – and then wait and see who is ready when the time to move comes around. And tracks that begin with two chords are handy for practising a bow and curtsey.

Can you turn it up?

The best music in the world is no good if people can’t hear it, so amplification must be suitable for the space and the size of class. A sound system that works well in a small hall with two sets may be useless in a large hall with six sets. People’s bodies absorb sound, so whilst sound-checking beforehand is important, music that sounds deafening in an empty room may be barely adequate once fifty people have arrived, chatting and wearing sound-absorbing fabrics.

Fortunately, speakers are getting smaller and more portable, and some have the facility to plug in a microphone.

Music on the go The best musicians can be held up in traffic, or have some kind of last-minute crisis. So even if you are teaching with a musician, it’s a good idea to carry some back-up recordings just in case. And with recorded music, you can dance to the sound of a full 5-piece band whenever you like – at any time of day. My own particular circumstances mean that I am often encouraging people to dance at 9am on a Monday or midday on Thursday – and because I use recorded music, I can do so to the music of Gordon Shand or Alastair Wood at the press of a button. And of course you can enjoy the sound of your favourite band on the stereo system of the car on the way home from a dance as well, and re-live the highlights!

From Montrose to Medicine Hat There cannot be many RSCDS members who can claim that their great grandfather taught Queen Elizabeth the Queen Mother, and that they themselves have partnered the Queen in the Gay Gordons. John Bertram of Medicine Hat Branch has that distinction! in brilliant strains, of the pig-rearing perfections of the inhabitants of St Cyrus’, a village just north of Montrose. He clearly felt himself able to address Robert Burns as a fellow poet. Here is the first verse of his Letter to Rabbie Burns:

John and Janyn Bertram John Bertram now lives in Calgary, but he was born in Edinburgh. His family roots, however, are in Montrose on the east coast of Scotland. His great grandfather was George Barclay Hadden (1843-1920), a famous Montrose ‘teacher of dancing and deportment’, but also a poet and fiddle teacher. He taught in Montrose, Fordoun, Bervie, and Fettercairn. In those days dance teachers held an end of term ‘Finishing Assembly and Ball’. Mr Hadden’s assemblies were reported annually in newspapers from Dundee to Aberdeen.

First royal connection George Hadden’s portrait used to hang in Glamis Castle, childhood home of Queen Elizabeth the Queen Mother. He was in the long tradition of ‘dancies’, who taught both ordinary people in small village halls and the gentry in their grand country houses.

He is said to have taught the Queen Mother when she was a girl. Two of the best known dancies were Dancie Neill, and Dancie Reid who taught in the early years of Summer School.

Dear Rabbie, lad, I tak’ my pen To dae my best to lat you ken O’ a’ the changes that ha’s been Sin’ you left this earthly scene.

If ye were here an ’oor or twa, Ye’d scarce believe the things ye saw: A few o’ them to you I’ll mention If ye will gie me your attention.

Weel, first o’ a’, there’s a machine That’s driven by the power o’ steam; There’s roads for it laid sooth an’ north, An’ brigs for it ower Tay an’ Forth; It goes as fast’s the swallow’s flicht – Just like the deevil in munelicht; If to London noo ane wants to ga’e They can get there in hauf a day.

They tell me, Rab, that in your time It took aucht days, an’ sometimes nine!

Early life and emigration John’s father, a drummer in the King’s Own Scottish Borderers, met his mother at a dance arranged for the soldiers at Redford Barracks in Edinburgh. After WW2 the family moved to Galashiels, his father playing in a country dance band. Jobs were scarce in Scotland in the early 50s.

With relations in Australia and an aunt in Medicine Hat, his parents tossed a coin and it came up Canada. They landed there on 28 June 1953 when John was 10 years old.

Popular poet Mr Hadden’s poems were regularly published in the Dundee Courier and the Montrose, Arbroath and Brechin Review.

Books of his verse in Scots and English were published locally. His nickname was Toll of Tayock. His sketches of local life, written under the pseudonym Samuel Codback, were popular throughout Scotland.

A Letter to Robert Burns On 3 January 1879 The Dundee Courier reported that Mr G B Hadden ‘sang

Glamis Castle (courtesy of Fotosearch UK)

Elizabeth Bowes-Lyon, her brother, and Dancie Neill Whisky from Her Majesty John joined the Canadian Army as a boy soldier at 16, serving in Europe, the Middle East, and Canada. He was transferred to The Black Watch of Canada. While in Germany the regiment took part in concerts and parades. As they were preparing to return to Canada, a call came in to play at a garden party in Cologne for the Queen and Duke of Edinburgh. After the gig they were told that they couldn’t leave as the Queen wished to address them. She presented each of them with an autographed bottle of Scotch!

Dancing with the Queen One summer, after playing at the Edinburgh Military Tattoo, they were invited to Balmoral Castle for the Gillies Ball. It was a wonderful occasion. The Drum Major was asked if anyone could dance and John was nominated. He didn’t know until the last minute that he would be dancing The Gay Gordons with Her Majesty.

A family tradition To cut a long story short, John ended up teaching some folk from The South Alberta Caledonian Society, which was how the Medicine Hat Scottish Country Dance Group began. They had no teachers in the Hat so he and his wife, Janyn, decided to qualify. In 1985 they moved to Calgary and became involved with various groups before starting their own. They have never stopped teaching or dancing. They currently teach three evenings a week.

Little did George Hadden know that his great grandson would be teaching Scottish country dancing in Alberta in 2020 – the 100th anniversary of his death!

www.rscds.org

17

New Zealand Branch Summer School The Summer School organised by New Zealand Branch every New Year is a major date in the RSCDS diary.

This report comes from this year’s organiser, Antanas Procuta.

How do I capture in a few paragraphs the many delights, the effort, the events, all the learning, and the happy incidents that made up our 8-day Summer School? This year’s event took place in St Peter’s School, set in the countryside outside Cambridge in North Island. St Peter’s provided a bucolic and restful setting for all this dance activity, with the accommodation, dining hall, and main dance venue, all close together. For this particular Summer School, our intentions were a desire to enhance the excitement of dance for younger dancers, to make use of the different experiences and skills of the international teachers to broaden the capabilities of local SCD teachers, and to offer a range of classes that suited the varying needs of dancers.

Although we initially planned six classes, the school ultimately provided nine, (including Unit 5), a variety of afternoon classes and local tours, and evening dances, including an exciting, dazzling, 1920’s Razzamatazz-themed evening, a special Hogmanay celebration, and the President’s Ball. Jamie Berg’s High Energy class, accompanied by pianist husband, James Gray, was aimed toward the younger and more energetic dancers who may not have necessarily mastered technique, but enjoyed the challenge and spirit of exciting dances. The breadth of experience and knowledge offered by teachers Mervyn Short and Christine Freeman was shared by the Advanced Technique and Advanced Low Impact classes. That the school had dancers aged from six to 93 years and a good mix in between demonstrated the enjoyment of dancing across the generations.

With dancers coming from Australia, the UK, Europe, and North America, our Summer School also offered the opportunity for dancers to holiday in New Zealand before and after the school.

During the school, trips were organised to local activities and attractions including a bush walk on Sanatorium Hill overlooking Cambridge, and a visit to the multi-themed Hamilton Gardens.

18

www.rscds.org

New Zealand Summer Schools traditionally have made an event of Hogmanay. Dianne Murdoch along with her daughter and son-in-law created and curated a full Hogmanay experience, with the evening dance programme developed and briefed by Cambridge Club tutor, Helen Smythe.

After Stu Budden piped in the haggis, MC Alec Calderwood gave a rousing ‘Address to the Haggis’. Stu piped for the dance Bill Clement MBE, with the bagpipe music requiring intent listening for dance phrasing – a new experience for many. Just prior to midnight, lights were dimmed and dancers joined to sing Scottish classics and newer songs such as Caledonia, and the Proclaimers’ 500 Miles.

As a way of putting Scottish country dancing in front of the local community, a Ceilidh was programmed for both Summer School dancers and the general public. 70 members of the public joined us in a range of simpler Scottish dances. The ‘Wooden Spoon’, traditionally awarded on the last night to the person noticeable through the school by their ‘stirring’, was dually-bestowed upon Helen Wyeth and Philip Oliver.

Those people previously awarded the Wooden Spoon are destined to become Summer School organisers themselves.

Just deserts!

The Summer School was a huge production, with 175 dancers, 26 dance and music teachers, musicians, evening dance programme devisers, the Summer School committee and a further 70 volunteers. The success of any school lies with the dance teachers and musicians who provide many years’ experience, knowledge, and love of dancing to enable the dancers to enhance their own capabilities, and their appreciation and enjoyment of Scottish country dancing. Our heartfelt gratitude goes out to them all.

Winter School Winter School at the Atholl Palace in Pitlochry was another great success. The teachers were William Williamson, who was also the School Co-ordinator, Angela Young, Janet Johnston, and Andrew Nolan. The musician line-up was another classic: Rodger McAndrew, Shona MacFadyen, Ian Robertson and David Oswald. This year 124 dancers attended – 32 were there for the first time. Lorna Thomson, herself a first-timer, writes about her week.

The view of a first-timer Finally this year I was persuaded that I should go to Winter School.

Having now experienced five wonderful days there, I would urge anyone with any doubts to do the same. The event began with the Winter School Director, William Williamson, welcoming us all at a reception in the Bow Lounge of the Atholl Palace Hotel in Pitlochry. First timers were given a gold star on their name badges.

One hoped to earn it by the end of the week!

Various classes were on offer, taught by professional, highly talented RSCDS teachers. They are caring, understanding and made us aware of how and what to improve. The classes had the expertise of a different teacher each day and they were all geared to suit our needs. I listened to dancers of all standards and the pace of each class was set to suit the grade and indeed to expect the highest standard possible from everyone, albeit there were a few tired legs after the first day’s session!

Live music was everywhere and the level of playing was extremely high. The musicians added that little bit extra with anecdotes and details about the tunes, which are always interesting to hear.

The dance programmes for each evening were issued in advance of the event so no chance of saying ‘I don’t know this one!’

Impromptu, hilarious ceilidhs often followed the evening’s dancing.

Wednesday night was official Ceilidh night – teachers, musicians, and dancers tackling other musical genres with fun, comedy, and much laughter. The side-splitting perfectly-executed act by The Village Maids and The Sailors was, of course, the showstopper.

A variety of activities was offered in the afternoons with companies setting up their stalls, a talk from the John Muir Trust, one from the Society Archivist, and a visit to the Crannog in Loch Tay. Finally the Jewel in the Crown – The Winter School Ball, a wonderful event, on Thursday evening in the Great Hall of Blair Castle, seat of the Dukes of Atholl. The Great Hall has a powerful air of history and no one could fail to feel the atmosphere. The dress code was full highland dress for the gentlemen and posh frocks for the ladies.

The Grand March was a glittering sight to behold.

Our brilliant Winter School musicians provided the band, William was the compère and the recapping was shared by the teachers with a good measure of hilarity all round! The dancers received praise from the Director and all our efforts became worthwhile!

To sum up the five days for me, the main components were friendships from Buenos Aires, Buffalo, San Francisco and elsewhere to Bonnie Scotland, informative teaching and music to stir your soul in a holiday atmosphere in a first class hotel.

Come and join us in 2021 – my name’s on the list!

Lorna Thomson, Dundee Branch

ARE YOU READY FOR AN INSPIRING WEEKEND? RSCDS San Francisco Asilomar Weekend Oct 30 - Nov 1, 2020 Pacific Grove California

Jeff Corrigan Arthur McNair Jennifer Reiner Helen Russell Katherine Shearman Dance at the beaches of the Monterey Peninsula!

Friday Welcome Dance

Annie Turano, James Matej MacQueen, Andy Imbrie

Kim McGarrity Memorial Ball

Ian Muir, Judi Nicolson, Kathy & Fred Collins

Join dancers from near and far at Asilomar!

Accepting applications from July 1 Visit our website for more information

Asilomar.rscds-sf.org www.rscds.org

19

Anniversaries Banffshire Branch – 90 In November the Banffshire Branch celebrated its 90th Anniversary with a celebratory dance in Buckie Community High School. From its formation in 1929 the Branch has continued to become one of the most hard-working and prolific Branches. Apart from running weekly classes, its members have contributed to the Society itself by serving on a variety of Committees. It has been very active in local schools, organising classes, Festivals, and Days of Dance.

Guests of honour included Jean Martin, Lorna Ogilvie, Frank Thomson, Jennifer Wilson, Pat Lemon, Pat and John Grant. John has helped for many years, in a variety of Branch roles.

Anne Taylor

composed by Chris. It is intended to publish the new dance and music as part of the anniversary celebrations.

In our anniversary year, we wanted to reach out to the local community, so contacted local primary schools with the aim of introducing Scottish country dancing to a younger audience.

We were delighted to work with Four Oaks Primary School, who were enthusiastic and keen to run teaching sessions for their Year 6 pupils. These took place at the end of June and were led by a qualified teacher.

“It’s wonderful to see the children so absorbed; the dancing is a perfect mix of social interaction with physical activity,” said Louisa Appleby, Deputy Head Teacher.

The local publicity generated by our anniversary celebrations has encouraged a number of people to be in contact to express an interest in learning more. It has been a productive and fun-filled year of celebrations and, as the year draws to a close, we are looking forward to many more years of Scottish country dancing in Sutton Coldfield.

Frances Richardson, Chairman

Atholl Scottish Country Dance Club, Edinburgh – 60 ‘The Atholl’, as it is affectionately known, was one of a plethora of groups, affiliated to the RSCDS, and founded in Edinburgh in the 1950s and 60s. Somewhat unusually, it grew out of weekly dances run at the Leith Assembly Rooms by the dance band, the Atholl Players (hence the name), only becoming a formal club in 1960, when the Players ceased to play. Live music has always been a key feature of our weekly Tuesday night meetings with our resident band led by Iain MacPhail. Programmes are devised by our members (currently we have over 90), and we continue the tradition of not recapping dances – ably assisted by the arrival of the Scottish Country Dance Database and our own website. Although the Leith connection was broken in the 1970s, and the Club met on the south side of Edinburgh for more than 20 years, we have now returned to our roots, dancing in Leith at the Thomas Morton Hall. Visitors are always made very welcome, and it will be particularly good to welcome old friends and new to our 60th birthday party on 19 May. Alison Nuttall, President

Jean Martin, Lorna Ogilvie and Alice Archibald, Chairman of the Banffshire Branch cutting the cake.

Reading St Andrews Scottish Dancing Society – 70 In February we held our annual ball at the Abbey School in Reading as part of our continuing 70th anniversary celebrations. Guests were welcomed with a glass of fizz to kick the evening off in style. Coincidentally, 70 dancers enjoyed fabulous music from the Craigellachie Band who were on top form. The programme had been specially put together for the occasion and drew upon dances done at previous balls, which had been particular favourites of our members down the years. During the supper interval Gill Coulson, the current chair, and Peter Luke, one of our life members (who recalls both the 25th and 50th anniversaries!), cut a celebratory cake to mark this memorable year in the club’s long history.

Duncan Barnet, Reading

Sutton Coldfield Branch – 60 This year Sutton Coldfield Branch celebrated its diamond anniversary. The Branch was launched with a dance in Sutton Coldfield Town Hall in 1959 and since then hundreds of people have enjoyed Scottish country dancing here.

Our teacher at the time of our formation was Barry Priddey, who devised 14 books of Scottish dances in his lifetime. We celebrated with a special anniversary dance in July. This event was attended by dancers from Birmingham, Solihull and surrounding areas with Chris Dewhurst and his band. A special highlight was dancing a new anniversary dance devised by our teacher, Gill Jennings, with music

20

www.rscds.org

Cockermouth Scottish Country Dance Club – 60 The club began in February 1960 with a few friends meeting in the old Derwent School and now has 42 members enjoying weekly classes and three annual dances. We warmly invite friends old and new to join us for our Anniversary Ball on Saturday 9 May. We have a very special venue for our special occasion – a converted barn, which incorporates the former Cumbria Ballroom sprung floor, situated in an idyllic rural setting on a working farm just south of Cockermouth. We shall be dancing to the music of George Meikle and the Lothian Band and the evening includes a fully catered supper. Cockermouth is a historic ‘Gem’ town, close to the English Lake District and birthplace of William and Dorothy Wordsworth.

Melbourne and District Branch – 50 The 50th anniversary year of the Melbourne and District Branch finished with an enjoyable Twilight Social on 2 November which was funded from the Winter School surplus. This was an enjoyable way to reward members for their contribution to the Society and to celebrate what has been a successful year for the Branch. Three groups (Ringwood, Waverley, North Essendon) took advantage of a government-initiated Seniors Week in October to conduct a Come and Try Day. This was quite successful at two of the groups and both groups have acquired new participants and members as a result. Many will have read of the terrible bushfires we experienced at the start of this new year. The dancing community responded by converting events early in the dancing year to Bushfire Relief Fundraisers. These include the Burns Night run by the Mitcham Scottish Society, and the Branch Opening Social.

Leanne Smith

Scottish Country Dancing Society of Berlin

Scottish Country Dancing Society of Berlin – 45 Christopher and Angelika McLarren hosted their first Scottish dance evening in Berlin in October 1974. Back then it was still sponsored as a recreation activity by the US Army. Fortyfive years later the McLarrens celebrated the anniversary with a weekend workshop and ball to which the SCDS of Berlin invited dancers from around Europe. We welcomed guests from Hamburg and other cities in Germany, from Denmark, France, Italy, Britain, and Poland. Music was provided by Alan Ross and his band for the Friday evening social dance in the Quentin Blake Europe School. The first dance was Espie McNab, the first dance on that first evening so many years ago in a small hall of the Amerika Haus. On Saturday morning we were taught by Jennifer Hawdon from Cheltenham. Alan Benson, our in-house dance composer, led us through his Ceithir-a-Còig Reel which he had written especially for the Anniversary. The grand ball and gala dinner was held that evening in the spacious Tegeler Seeterrassen. Entertainment was provided by, among others, the The Berlin Pipe Company. The cake bearing the group’s logo was rolled in by the light of sparklers. During the final Auld Lang Syne a ring of about a hundred dancers was formed.

and a meal. The chosen venue was the Ewington Hotel on the south side of Glasgow. 26 members gathered in October for a relaxed celebration. After a delicious meal we were entertained

by David Ross on accordion. David had played for us on several occasions previously. He gave us a wonderful selection of favourite tunes, frequently responding to special requests. The Glasgow archivist, Chris Sanders, had provided a magnificent display of memorabilia. It was a wonderful panorama of decades of dancing and Branch activities. The afternoon was happy, but there were moments of sadness as we recalled the contributions of distinguished and dedicated members no longer with us.

Under the current Convenorship of Daphne Davidson the group is strong, hopeful and determined to continue for many more years.

Ruth Beattie

Angelika McLarren

Brevard Scottish Country Dancers of Melbourne, Florida – 40 In January the dancers of the BSCD celebrated 40 years of dancing in Melbourne village hall. Catie Condran Geist, and Abanne and George Waters – three of the founding members – were present, along with dancers from Orlando, Jacksonville and Oregon.

Teacher James Kutzner led the evening. Mrs Geist said, “I just love the music, and back when I could do the steps, it was like flying.

It was so wonderful to dance down the middle and back. It just lifts my spirits and it’s fun being with other people.”

Catie Condran Geist, Secretary

Glasgow Branch Seniors’ Group – 20 On Thursday 10 October the Glasgow Branch Seniors’ Group celebrated its 20th Anniversary. We never thought that it would survive and continue to meet on a regular basis in the way that it has. Its origins stretch back to a very successful social event for dancers and former dancers, organised by Glasgow Branch in 1998 to celebrate the 75th Anniversary of the RSCDS. It was established for those who shared the same interest in our dancing, but who were no longer able to participate in regular classes. A way of life was suddenly extinguished, very often reluctantly, depriving participants of a lively, physical activity and all social contact.

It was decided that, as a group, our meetings should be in comfortable surroundings with some form of entertainment.

Members would be able to relax, enjoy socialising, share news

www.rscds.org

21

Young Dancers News of young dancers is edited by Olga McIntosh.

Please send her news of your youth events to: ol.mcintosh@gmail.com

Global Youth Week Winners Galashiels St Andrews Day Ceilidh The winning entry in the Global Youth Week competition was the St Andrew’s Day Ceilidh in Galashiels. The Ceilidh took place on Tuesday 26 November with over 200 children dancing.

Our musician was Roddy Johnston. All the primary schools in Galashiels took part. The dance teachers from the Branch had spent the previous six weeks going into the schools and teaching the dances to the children. The supermarket chain, Tesco, have a community champion scheme and they provided the snacks for the children. The local Active Schools co-ordinators and our members worked together. It all made for a very happy and successful morning.

Margaret Pritchard, Galashiels

The Newcastle Festival As usual children under 16 had their own slot at the Newcastle Festival in February. Two teams entered the Under 12 section with the Méaudre Reel children from the French Alps winning the Chris Blair Trophy. They danced Bill Clement MBE and A Trip to Timber Ridge. In the Under 16 section there was an impressive entry of 6 teams with the German team taking the trophy home. They danced Brechin Lassies and the Braes of Tulliemet. The older teams chose some quite challenging dances. Of the 8 teams competing, 5 had travelled from Europe, all credit to the children and their teachers.

There were two local teams and one down from Aberdeen.

Peter Avery, Newcastle

Sutton Coldfield Branch doing great work with Four Oaks Primary School

Scottish Festivals

Global Youth Week Winners – Galashiels St Andrews Day Ceilidh

The Scottish Festivals take place in the Spring, kicking off with the Inverclyde Festival in January in the grand surroundings of Greenock Town Hall – one of the best dancing venues in the country. Around 60 primary school children and their teachers had put in a huge amount of effort and the level of energy and enthusiasm was impressive. Dumfries followed in February with Inverness, Glasgow, Perth, and the largest of them all, Aberdeen, all in March. These Festivals are supported by volunteers from their local RSCDS branches. Each festival has a festival musician, who plays for all the teams.

Southern Fling At the end of January Canberra and District Branch hosted its first ever Scottish Country Dance Youth Weekend – 2020 Southern Fling for dancers aged 18 - 40. We had 36 dancers from across Australia, as well as New Zealand and even Ireland. The weekend provided both newer and more experienced young dancers with the opportunity to improve their technique and footwork in an energetic setting. The expert teachers were Diana Hastie from Sydney and Mel Roome from Hobart. Dancers were also given the opportunity to try dance devising on the Saturday afternoon, workshopping ideas in small groups. Four dances were produced and then showcased at the close of the weekend. Evening socials were held on both Friday and Saturday and while the weather was less than ideal (reaching 41˚C), energy and atmosphere on the dance floor were lively and joyous. We had live music at all events throughout the weekend from Iain McKenzie from Mackay in Queensland, as well as local musicians for one of the

22

www.rscds.org

morning classes. Most importantly, the weekend served to grow and strengthen the youth Scottish country dance community in the Southern Hemisphere. Many new friendships were formed amongst dancers

of all levels and abilities in a fun and inclusive environment. We can’t wait to dance together again soon!

Laura Walter, Canberra

Dancing around the World All branches and affiliated groups are invited to send in their news (maximum 200 words) to Caroline Brockbank caroline@ceilidhkids.com

Ashill’s First Birthday

Ashill Scottish dancers – Somerset Branch At the Ashill Scottish dancers we enjoyed our 1st Birthday Party and dance on 11 January. We were well supported by other dancers in the area and we all had a wonderful evening with a bring and share supper, a special three-tiered celebration cake made by one of our members, and lots of dancing. The group is led by our teacher Anita Wilson, and we have up to three sets every week and are continuing to attract new members. We are all looking forward to another year of dancing and fun.

Anita Wilson, RSCDS Somerset

BASCDancers, Buenos Aires The last three months of 2019 were full of excitement for the BASCDancers.

In October we held our third Scottish Halloween Party. We had two Scottish visitors, Jim Stott and Anne McArthur, and that allowed for an international jury for our fancy dress parade. Jim was kind enough to stop his holidays and teach us a couple of workshops on technique; he joined us in a beginners’ class in which he focused mainly on technique and we also had great fun dancing together. The more advanced dancers had a workshop where we not only polished technique, but tried a couple of newly devised dances as well. The dancing and rowing day at the Delta was a success, this year with a practically full house of 30 dancers! Preparations for the IB Buenos Aires workshop 2020 are on the way and so Michael Plumley and Jan Jones met us in December for meetings on organization and logistics. Michael and Jan are doing a great job and all BASCDancers are really thrilled with this event. We look forward to meeting some of you in September here in our city.

Marcela Galve

Cheltenham Annual Ball We are lucky in Cheltenham to have two magnificent venues with floors built for dancing. As the Pittville Pump Room was

not available this year, we rediscovered the delights of dancing in the Town Hall.

Pipe Major Sandy Walker welcomed the dancers and, accompanied by the band, heralded the start of the dancing. Dancers from across the South West and beyond danced with verve and enthusiasm to the inspirational music of Nicol MacLaren and the Glencraig Band. During the interval a light supper was served in the Pillar Room. We had a super programme, both accessible and full of much loved dances. It was social dancing at its best!

Fiona Knee and Jennie Hawdon

Edinburgh St Andrew’s Day and Global Youth Week We had a fun weekend of events to celebrate Scottish dancing in Edinburgh as part of St Andrew’s Day and Global Youth Week. Edinburgh Branch, working together with CeilidhKids, Edinburgh University New Scotland Country Dance Society and Dunedin Dancers aimed to get lots of people dancing, no matter what their age or ability. Friday evening was great fun at our easy dance with a good mix of ceilidh and country dances. We had fantastic music from Ewan Galloway and his Scottish dance band. Fortunately, the simple programme and great music kept everyone on the dance floor as the temperature in the hall was slightly chilly. The heating in the hall was no match for the coldest night of Autumn and Saturday morning dawned with a heavy frost. The children enjoying dancing at CeilidhKids were undaunted, but the Mums, Dads and Grandparents all kept their hats and coats on to dance!

Next up were the slightly older children, too cool for dancing with Mum and Dad and enjoying meeting new friends and new experiences away from their regular class.

“A big thumbs up” (Corrin, age 4) “CeilidhKids was great because I got to help demonstrate the arms for the Gay Gordons.’ (Ayla, age 6) “I liked the Gay Gordons and the one where

I spin round Dad and Dad spins round me.”

(Struan, age 8) Our taster session for new beginners drew an international audience with a Japanese teacher and new dancers from Germany, China and South America as well as those more local to Edinburgh. They all quickly got the hang of our steps and learnt lots of ceilidh and simple dances ready to celebrate St Andrew’s Day. The workshops ended with our more advanced dancers enjoying a class with Deb Lees. The weekend culminated with The Dunedin Assembly. It was a great way to celebrate St Andrew’s Day with friends, good food and an evening of dancing to lively music from Dave Hall and his Scottish dance band.

Elizabeth Harry

Falkirk Branch Once again, the third week in January saw over 300 people from all over the UK arrive at Crieff Hydro for Falkirk Branch’s 27th Annual Weekend. With two country dances running at the same time (one called and one uncalled) and a ceilidh, there was something to suit everyone and the dancers enjoyed wonderful music from three top bands led by Gordon Shand, Marian Anderson and David Oswald. The dancers received expert guidance in classes during the day and at the called dances at night from the teachers, Janet Johnstone, Agnes Leighton, Angela Young and Sheila Bain.

Among the many highlights was a concert on the Saturday afternoon given by Gordon and Ailsa Shand’s hugely talented children, Clelland, Inver and Blythe, with Stuart Oswald on drums. They played a lovely selection of tunes as well as providing the music for a demonstration dance, The Lea Rig. To see these young world-class musicians performing was hugely encouraging for all, but particularly rewarding for Falkirk Branch who had contributed £2,500 to enable Gordon to bring the world-class accordion teacher, Frederic Deschamps, to Scotland. He ran a one-week master class course in October 2018 for nine of our country’s most promising young accordionists. Another hugely successful weekend.

George B Stevenson

Hamilton (Ontario) Branch On 5 October, 40 enthusiastic dancers from Ontario and New York attended a Fall workshop in Hamilton, Ontario. The coordinator of the workshop was J’ina Middleton and classes were taught by Claire Collier of Lewiston, New York, and Robert McOwen from Boston, Massachusetts.

Lively music was provided by Laird Brown and Dan MacDonald. Participants were

www.rscds.org

23

divided into two classes for the morning sessions. They joined together for a delicious lunch and an afternoon class.

More dancers came to enjoy the afternoon Tea Dance. A great day was had by all!

Diana McKenzie

Deryck Mitchelson and admired the music of Ian and Judith Muir. We expect the event to be even more international this year in St Petersburg, followed by Spring Fling and Fringe 2020. The SCD Festival and Highland Dance Competition are in the programme too. The traditional Burns virtual flash mob, first suggested by Saratov dancers two years ago, continued this year with The Lea Rig. Groups from Saratov, Yaroslavl, Novosibirsk, Naberezhnye Chelny, Kaluga, St Petersburg, Zheleznogorsk, Kirov, Ufa, Khabarovsk, Moscow, and the participants of Cheboksary Burns Festival posted their dances online. York Branch danced it as well, which brings us to an idea to make the event international next year. We plan to suggest the dance in the October Issue.

Maria Tsvetoukhina

Ribble Valley Branch

Keith Oughton and Wendy Coley

Leicester Branch Leicester Branch held their Annual Charity Dance in February in aid of Medical Detection Dogs. MDD trains dogs to detect serious illnesses such as Cancer, Parkinson’s and Diabetes by smell. This enables people to be diagnosed much earlier and treatment can then start before it is too late. The dance was well supported; dancers were very generous buying raffle tickets and putting money in the charity boxes. Money was also collected at the Branch weekly classes. Chairman Keith Oughton met with Wendy Coley, the local representative of MDD, to present a cheque for £360.

Neil McLaren

Moscow Branch The Moscow Branch Spring School in Kazan in May 2019 became a really international event. Dancers from different cities of Russia, France and Germany enjoyed the classes taught by Gábor Tury, Ron Wallace, and

The Scottish Fest in Saratov in September

24

www.rscds.org

Ribble Valley held their inaugural dance in August 1994, welcoming around 80 dancers to a packed Grimsargh Village Hall. In August 2019 we celebrated our 25th Anniversary with a Summer Ball at Plungington Community Centre, Preston, with over 70 dancers present.

Ribble Valley Branch was the inspiration of Ken and Lavina Morris. They cut the 25th Anniversary celebratory cake along with founding members. The Ball programme had many dances from the inaugural dance programme with six dances written

by Ribble Valley members including two published by the RSCDS and one written specifically for the occasion – Silver Celebration by Jill Burrows. Ribble Valley Branch is still thriving with over 70 members and new members still joining.

Sandra Lloyd

Queensland Branch Queensland Branch held its closing St Andrew’s Social on 23 November, planning to start again on 28 March after our hot summer months. The social, with Bruce and Bayden Mitchell playing, was a great success, with up to five sets on the floor, including a number of beginners given support by more experienced dancers.

An innovation was the inclusion of a workshop for our Queensland Teachers’ Support Group (QTSG) before the St Andrew’s Social. This group has been operating for a number of years, providing guidance to teachers at the twenty clubs and classes within the state. However, the tyranny of distance (Queensland is more than seven times the area of the UK) resulted in sessions being poorly attended. Having this QTSG session before a significant social certainly improved attendance. Those attending each brought six dances to be considered for inclusion in the forthcoming March Social; dances were selected for the occasion and details of their presentation were discussed. In response to the recent publication of Thirty Popular Dances Volume 2 our Branch has circulated the list to all its members, suggesting that clubs incorporate them in their socials, and as an encouragement to dancers to travel to socials further from home.

Bryan Hacker

Saitama Branch Kasukabe Sugar Candies, one of the groups in Saitama Branch, celebrated its 15th anniversary on 5 and 6 October in Nikko. The group invited two musicians from Scotland, brothers Luke and Adam Brady. Five years ago they were invited by the same group in February. It was unusual that it snowed in Saitama area then. This time, people worried about a typhoon, but fortunately it was nice weather! About 160 dancers (including some from England and Canada) enjoyed the Welcome Dance and Anniversary Ball on Saturday, and Farewell Dance on Sunday with marvellous music played by Luke on accordion and Adam on piano. At the Ball, Peter Marshall, who has been a companion of the group for many years, presented a new dance, City of Wisteria, with music composed by Luke. A piper came through the forest by the hotel on Sunday morning, and the social gathering after the Ball reminded us of Summer School in Scotland. At the end of the dancing, we sang Auld Lang Syne and hoped to see each other again. That was a dreamy weekend!

Momoyo Suzuki

Seattle Branch Seattle Branch held its annual Burns’ Night celebration, a well-attended event open to the public. The audience was treated to witty toasts: to the Immortal Memory, to the Lassies and Laddies, and to the Queen. The formal program also included a highland dance performance by two greatgranddaughters of the late Margaret Allan, a long-time Branch member and supporter.

Dancers then enjoyed a full evening of dancing, with a program designed to include all levels. Young and old alike, the group filled the floor, joyfully dancing to the music of pianist, Guinevere Saenger, and fiddler, Margaret Hannahs.

Bill Wicheta

RSCDS AGM, she was presented with a crystal vase from the Willow Tea Rooms in Glasgow. The evening continued to the music of Laird Brown and Scotch Mist.

Shiftin’ Bobbins and its companion group ‘The White Cockade’ of Hamilton are proud to be affiliated with the RSCDS Jon Allen-Friend

Dancing weekend in Tallinn

Seattle’s Burns’ Night

Shiftin’ Bobbins Social Group – Toronto Tickets sold out a month before the 6th St. Andrew’s Dance on 24 November with dancers of all ages celebrating the group’s tenth anniversary and recognising three teachers who gained their certificates in ‘the class of 1979’.

Dancers heard that two of the three, Kathleen Kynoch and Jean Noble, were in on the secret that Jean Hamilton was to be the surprise Guest of Honour.

Kathleen Kynoch was recognized for her

mentorship in the Toronto area Branch classes and participation in the prizewinning East York demonstration team, under the late Bob Millar. Jean Noble spoke warmly of all that ‘Mrs Hamilton of Eaglemount’ accomplished over 40 years and how her Scroll of Honour was earned. An overwhelmed Jean Hamilton thanked everyone. Following anecdotes of Jean’s attention to detail, legendary hospitality, and ability to consume an entire box of chocolates in place of dinner before receiving her Scroll at the

!

On 6-8 December, Scottish music once again sounded in the capital of Estonia.

Intertwined with Christmas tunes, Scottish music came from the open windows of the Writers’ House. For the third time, hospitable Estonia opened its borders for two streams of dancers – from the west and from the east. It is no secret that many Europeans are cautious about travelling to Russia and not all Russians have the opportunity to attend the European weekends. Tallinn weekends, due to their location and hospitality, became a place where you can not only dance with old friends, but meet new people from neighbouring, but slightly different cultures. This year’s tradition was supported by dancers from Finland, Germany, Russia, Belarus and the UK. Patrick Chamoin and Vladimir Garbuzov were the teachers, and Anna Kovaleva brought the magnificent concert grand piano to life at the classes and evening dances. We are looking forward to next year, and the next meeting in Tallinn.

Vladimir Garbuzov

Just like the Phoenix of legend, Christchurch New Zealand has risen from the ‘ashes’. Rising from the devastation

of

the

Canterbury

Earthquakes

a decade ago, Christchurch has been reborn as a strong, vibrant city full of hope and spirit.

We invite you to join us as we celebrate this spirit at the RSCDS New Zealand Summer School Rise Up and Dance!

From 28th December 2020 to 5th January 2021 we’ll be kicking up our ghillies and twirling our tartans with expert tuition and encouragement from Tim Wilson (USA), Andrew Timmins (Australia), musicians Adam Brady (UK), Ian McKenzie (Australia) and a host of local kiwi talent.

With classes to suit all abilities and ages, serious and social, we’re looking forward to a bit of a hoolie … won’t you join us?

For

further

information

and

details,

please

contact:

David Williamson (Organiser) ss2020@dancescottish.org.nz www.rscds.org

25

Tokai Branch

Toronto Branch – on TV!

At the beginning of the Olympic Year of 2020, Tokai Branch organized its Annual Weekend School in Numazu, in the beautiful environment at the foot of Mt. Fuji in March. The Branch teachers offered classes full of variety: social class, funny SCD, DAA prep class, freshman teachers’ class by teachers who had just passed Unit 5 the year before. We had a fun ceilidh at night, and a farewell social dance in the afternoon of the second day. 80 participants enjoyed the spring weekend event. In May, we are planning the DAA Assessment for the Advanced Level. We offered the first DAA (Intermediate Level) in 2016, and this time we are organizing the Advanced Level workshop and the assessment. We hope that it will contribute to advancing the dancing level of Japanese dancers.

Yoshiki Oyama

Anne with an E is a Canadian TV drama series based on the novel, Anne of Green Gables. In one of the episodes (Series 3, Episode 6) there is an old-fashioned barn dance. There was a casting call for people who knew traditional Scottish dances. Several Toronto members responded, so we found ourselves on the set of the CBC TV series. We spent two days in an old barn filming a traditional 1899 barn dance. We had to be properly attired, the men in trousers, suspenders (braces), vests (waistcoats), jackets and ties; and the women in long skirts, corsets, crinolines, and blouses. There were two dozen of us, so it took quite a few hours to get into the costumes. Then the hairdressers went to work with hairpins and lots of hairspray. The ladies all had their hair pulled up or back into buns. No make-up was applied as this was 1899 after all. This resulted in an eight-minute scene of dancing. It is amazing how much effort goes into making eight minutes of film. However, the film really captured the delight and excitement of a dance.

It looked like a fast-paced fun evening. The cameras focused on the main characters and their actions. As dancers, we were simply background extras flitting in and out of scenes. As the dancing scenes move very quickly and with so much happening, it is difficult to recognise anyone. The days were typically seventeen hours long, including travelling time. But the work itself was not too taxing and we were treated well and we can claim to have rubbed shoulders with the real actors. It was most certainly a lark!

The series is on the CBC GEM streaming service and Netflix.

Louis Racic

Tokyo Branch On 8 November ‘Scotland Night’ at the Waseda University Intercultural Communication Center took place. International students from Scotland introduced their culture and history, and The Japan-Scotland Society gave a lecture on Gaelic. After that, the Tokyo Branch introduced Scottish country dance with a demonstration of The Bon Viveur, then enjoyed ceilidh dancing with about 100 participants including students from various countries, children, and neighbours of the university. 90 minutes passed in a friendly atmosphere with a large circle of dancers.

Finally, everyone sang Auld Lang Syne to the bagpipes. This song has Japanese lyrics and is a famous song that any Japanese person can sing. This event was a good opportunity for young people around the world to know about SCD. Yumiko Kosugi

Wyre Forest SCDC – Bewdley, Worcestershire Congratulations to Ken Thompson who celebrated his 90th birthday in September. We held a birthday party dance class in his honour. Our teacher had planned a themed programme of dances including Ken’s favourites, his love of Edinburgh and walking, as well as those to do with 90 or a link to Ken! We welcomed Ken’s friends from the Hagley dance club and enjoyed an American supper with Pat’s delicious birthday cake. Ken has been an active member of our club for over 13 years and was presented with theatre gift vouchers to celebrate reaching his 9th decade. Still dancing at 90 – what an achievement!

Julie La-Borde

Magazine Editor This issue of Scottish Country Dancer is the eleventh and final one to be edited by Jimmie Hill. It makes him the longest serving editor, but Jimmie’s contribution to the magazine has been far greater than that. It was Jimmie who persuaded the Management Board to start a members’ magazine in 2005, and since then he has been central to its production. If not editing, he has been on the Editorial Board and contributing articles.

His knowledge of publishing, the history of SCD, and the characters who have shaped the Society have been invaluable in developing the magazine, which is still today the principal means through which Coates Crescent communicates with individual members. We all owe Jimmie a huge ‘thank you’ for the ideas, inspiration and sheer hard work he has put into the magazine.

Fortunately, Jimmie is not going far. He is a member of our recently-formed Research Group and I am sure he will be writing for the magazine in future.

Andrew Kellett, Chairman

26

www.rscds.org

Letters to the Editor Any opinions expressed in the letters below are personal to the writers and do not reflect the views of the RSCDS or the Management Board.

Dear Editor Walk-throughs While reading Rod Morrison’s letter in the October issue (29), I recalled an evening when the programme included John of Bon Accord. After a well-presented recap, the person next to me turned and said, ‘I didn’t understand a word of that’. Yet another example of someone joining a set for a dance which is completely unknown to them. This is one of the unfortunate consequences of recaps which, I have to accept, are here to stay. I now detect a trend towards walking through every dance on a programme which is likely to mean that some people are even less inclined to familiarise themselves with the dances beforehand.

The essence of Scottish country dancing (at least in the RSCDS style) lies in the way in which we display individual ability while engaging with others, leading to the fluid movements and social courtesies which make it so enjoyable. Much of the exhilaration will be lost if every dance is first walked through and the dance itself lacks the refinement which comes from familiarity. Some readers may think that my expectations are no longer realistic as SCD has evolved and broadened its appeal, but we should still endeavour to maintain the standards on which it is founded. Walk-throughs sometimes have a part to play, particularly at dances aimed at helping the less experienced to gain in confidence, but I am simply suggesting that as a general rule we should discourage a practice which diminishes a Scottish country dance as a social occasion.

Andy Patterson, Rotorua, New Zealand

Dear Editor Is the price right?

The recent letter from Roger Brooks ‘Is the price right?’ asked the question, ‘Are we selling ourselves too cheaply?’ Invariably, I would venture to say the answer is almost always a resounding YES. Regardless how thrifty a local SCD crowd may be, one does work on the assumption that people are happy to pay for a quality or premier event. Hall hire, musicians and catering are not cheap, but when done well, lead to a very enjoyable and memorable event.

I have heard many incidences of complaints from dancers that there is talk of a Ball ticket increasing by $5 after the price has stayed the same for five years. Then in the same breath people complain that the quality of catering has not been very good for the last few years. To put it simply, one gets what one pays for.

There are always ways of ensuring the best bang for the dollar/ pound or euro but they can only be stretched so far. Price increases are inevitable, but when managed well, they should be respected as part of an organiser’s efforts to bring to the SCD community an opportunity to enjoy their dancing.

If an organisation wishes to maintain a certain charge for an event, for whatever reason they deem fit, which may mean the event just breaks even or makes a small loss, then the long game needs to be considered. Subsidising the event is an option through fundraising, sponsorship or dedicated ‘money-making events’. A public ceilidh or Scottish theme dance event can be used to bring in funds from the non-core SCD world and can be budgeted towards the less ‘thrifty’ who do not mind paying a reasonable amount for a fun night out.

These funds can then be used to support core SCD events.

I know of many people in the SCD community who work extremely hard to keep events active and running on a shoe-string budget. If

one way that we can help them and thank them for their hard work is to cheerfully accept a reasonable increase in an admission price, then I do not feel that is asking too much of us.

Michael Darby, International Branch

Dear Editor Lack of nominations The April 2019 edition of Scottish Country Dancer confirmed that management elections at the 2018 AGM produced a fully recruited Management Board and Management Committees. The same page of the magazine listed vacancies and appointments in 2019, together with details of how to apply.

Management Board (4) Education and Training (4) Membership Services (3) Youth Services (3) Astonishingly, under the heading Elections to Management Posts in the October 2019 magazine, no nominations were received to fill the four Management Board or the three Membership Services vacancies. The Management Board, the Society’s main policy and planning committee, will be reduced from 14 to just 10 and the Membership committee down from 7 to 4.

Without evidence, one can only speculate why serving on management committees is suddenly so unattractive. It is a worrying state of affairs and members should perhaps be encouraging their branch delegates and officers to ask questions.

Roger Brooks, North West Craven Branch

Dear Editor Go to Summer School!

Last summer my wife and I attended St Andrews for the first time. We would like to encourage anyone who has not been to go! Where to start? Fried egg and haggis breakfasts? Watching Mairi’s Wedding with the dancers on kazoos! Aching limbs by Friday? The sheer elation of getting a reel right along with 200 other dancers? Or was it the overall buzz, which is amazing? If you have never been to Summer School, here are the basics: six mornings of classes; six nights of dancing; and six walk-through sessions in the afternoons. And that doesn’t give much time for a nap in the afternoon – because this adds up to a pretty exhausting week! Mathematicians reading this will have worked out that the week involves about 70 dances – so we spent a lot of time on the internet, memorising cribs and watching videos.

You do get a night off on Friday for a ceilidh – not really a ceilidh – more a talent show with highly professional entertainment provided by the staff, musicians and groups of students. Two performances stand out: an operatic soprano singing ‘I’m tone deaf’; and the paso doble well up to ‘Strictly’ standards. We are told that there were also parties far into the night. So how did we find ourselves there? Well, after a couple of years of basic training we started going to dances, and quickly realised that we were in the company of folk who had been dancing all their lives. Some serious catching up was in order! Then someone mentioned ‘Summer School’ and this seemed like a step in the right direction. A spot of research revealed that there was a class for ‘dancers who have limited footwork, technique, and teamwork, and wish to improve their technique, formations, and their own ability’. This seemed about right for us, and so it was. We found ourselves neither the worst nor the best in a multinational class of about 20 who soon gelled into a friendly group. Our advice is simple: Do it! And gentlemen, if you hire a kilt, make sure it’s not too big. If it is, when dancing, it will slowly travel south!

David and Margaret Stoney, Ribble Valley Branch

www.rscds.org

27

Reviews Does your branch or club have a new book which you would like reviewed? If you teach a class and are interested in reviewing books from a teaching point of view, please be in touch: mag.editor@rscds.org

Thirty Popular Dances Volume Two How do you achieve the impossible?

How do you produce a book of just 30 dances which everyone throughout our worldwide organisation believes to be a popular dance?

We all know how localised dances become and which are most popular in our own area, but the Membership Services Committee set themselves the almost impossible task of bringing together just 30. They did their research thoroughly.

Firstly, all branches were asked to nominate dances for consideration. A total of 283 dances were submitted from over 100 branches. The committee must have had some very difficult decisions to whittle this huge list down to just 30. Like the original Thirty Popular Dances Book, the dances have been grouped together by dance tempo and there are ten of each: reel, jig and strathspey. Four of the dances have original music published in the book: The Cranberry Tart, The White Heather Jig, Da Rain Dancin’ and Asilomar Romantic; and two have facsimiles of original manuscripts, Hooper’s Jig of 1756 and Delvine Side of around 1790.

The book is beautifully illustrated with photographs, showing devisers, musicians and occasionally fun connections such as the Gold Post Box celebrating Sir Andy Murray’s Olympic Tennis Gold Medal in 2012 (Postie’s Jig). The committee, especially Peter Knapman and Angela Young, spent hours researching the details, including speaking with families of now-deceased musicians such as Jimmy Shand and Angus Fitchet. They have provided a huge amount of information which is not available on the internet. This gives the book a kind of archival feeling which, with our centenary so close, makes it a valuable document.

I have danced or taught all the dances published in the book and there are many dances I would include in a dance programme aimed at well-known and favourite dances, such as J.B. Milne, Mairi’s Wedding, Miss Johnstone of Ardrossan and The Irish Rover which have, until now, not been officially published by the Society (although in the Collins Book).

Two CDs accompany this book, one newly recorded by James Coutts and his band, and one compiled from previous recordings by various bands. Both are enjoyable with good tempo and great sets of tunes.

For any new teacher or local organiser just commencing, this is an ideal publication to purchase to start a collection. For a teacher who already holds a collection of RSCDS books the question of whether to purchase one which gives descriptions of many well-known dances, which they probably already own, has to be a personal decision which I happily took. For the dancer I recommend it as the one publication you buy. But for everyone, it gives a new collection and a way of looking at these well-loved dances with interesting background information and photographs. It is an excellent coffee-table book!

Jane Rose, Berkhamstead Strathspey and Reel Club

28

www.rscds.org

The Imperial Book of Scottish Country Dances, Volumes 4, 5 and more With the arrival of the second book in the summer of 2019 the RSCDS has now revised and published the dances from the Imperial Society books. The Imperial Society of Teachers of Dancing (ISTD) was established in London in 1904 and offered examinations in many dance forms including Scottish country dancing from 1953. It was renamed the Scottish Dance Branch when Highland Dancing was added in 1969 and absorbed into the National Dance Branch in 1992 as interest in SCD declined. The SCD branch was discontinued in 2014 and the RSCDS was able to obtain the copyright thereafter.

The first ISTD publication in 1966 contained dances devised by its leading lights, Edna Russell and Jack McConachie. The introduction tells us ‘it is a further example of the modern trend introducing dances containing variations of popular figures’ and ‘gives greater opportunity for the supporting couples to take an active part in the dance and leads to a more lively social atmosphere, the basic intention of all good dancing.’ The books thereafter were the result of annual competitions in Jack McConachie’s memory. Members were asked to devise a dance and the winner held the trophy of a Wilkinson Sword for one year. One of the requirements was that the dance included a new formation or a variation on an existing formation. Some included Highland steps.

The RSCDS published Volumes 1 – 3 in 2014, containing the dances placed in first second and third places in the 1968-77 competitions. This most recent volume contains Volumes 4 – 5, taking in dances until the end of 1993 and the later dances were those placed up until the competitions ended in 2000. We now have the 100 dances in two volumes. 57 require the correct number of couples in the set. 6 are medleys, one requiring six dancers is danced in a diamond formation, and there’s a couple facing couple round the room strathspey too. Only one third have music suggested for them. In some cases those named tunes or suggested recordings are originals for other sometimes well-known dances.

Dancers using the original books were required to refer to the 1960 ISTD publication Scottish Country Dances of the Eighteenth Century by Jack McConachie for descriptions of the formations named in the books. These formations included Turning Double Triangles, Pass and Turn Chain for Six, Reversing Chain for Six. The RSCDS revised the terminology used in the descriptions, but does confirm the original names of the formations.

I have enjoyed using the books and teaching a selection of dances to many class levels and abilities. The formations being a wee bit different give the classes something new to think about.

I commend the books to you. Give them a try.

Janet Johnston, Stirling Branch

Sadly Missed We would appreciate it if obituaries for inclusion in the next issue were sent from Branch or Club Secretaries.

Jimmy Boal, Dundee

Lilian Meiklejohn, Inverness

Jimmy Boal of Dundee was a great accordionist, an excellent arranger and composer, and led The Maple Leaf Scottish Dance Band with his wife Muriel on second accordion. They played for Dundee Branch summer dances for almost 35 years and organised dance holidays in Europe as well as travelling all over Britain.

Jimmy maintained that the best part was the friends they made.

Despite his cancer treatment, Jimmy remained up-beat and jovial and you would not have known he was so desperately ill.

Lilian was our Honorary President. She gained her teachers’ certificate in 1972. She taught the Branch children’s class before moving on to take the general class, which she taught for 23 years. She was presented with a Branch Award in 2006. Although she had been ill for some time she was always cheerful and a great support to the Branch.

George T Watt, Dundee Branch

Jim Murray, Vancouver

Irene Whyte, Inverness Branch

John Baker joined Bath Branch in 1950, becoming a committee member soon afterwards. He met his wife, Mary, at Summer School. From 1957 he was an inspiring teacher of all levels. In 1959 John had the privilege of dancing for Queen Elizabeth, the Queen Mother. He organised the 1961 Festival of Dance at Bath Pavilion. From 1968-1982 he led the demonstration team which performed in the UK and abroad. Over the years he was the main MC at Bath dances. He represented the Branch on the Executive Council and was President of Bath Branch from 1983 until 2018.

Jim, a lovely man with an affable manner and warm chuckle, was born in Edinburgh in 1933. He and his wife Mary were members of Allie Anderson’s Demonstration Team for several years. In 1966 they emigrated to Canada and joined Vancouver Branch where Jim was Chairman from 1971 until 1974. He danced with the demonstration team for another 28 years.

Jim enthusiastically embraced everything Scottish and was a founder member and Chairman of the Vancouver Burns Club. His knowledge of both Burns and Scottish history was generously shared in the establishment in 1998 of the Centre for Scottish Studies at Simon Fraser University.

Fiona Keane, Bath Branch

Sandy Caruth, Vancouver Branch

Joyce Elliott, Leicester

Ann D Naismith, Roxburgh, Selkirk and Peebles Branch

John Baker, Bath

Joyce trained in PE, receiving her teachers’ certificate in the early 1960s. In 1985 she married Bernard Elliott, the piper at Summer School, which they attended for many years. Joyce taught SCD up to the time of her death, and ran teacher training courses from 2001 to 2003. She was a founding member of the Galloways Dancers of Nottingham, eventually taking over as leader, designing and teaching all the group routines. She maintained an enduring, reciprocal twinning association with Karlsruhe. Joyce took part in all 48 trips to dance festivals abroad – even visiting Outer Mongolia.

Pamela Hood, Leicester Branch

Maureen Haynes For the last 20 years Maureen was an enthusiastic member and inspirational teacher of NW Craven Branch. She taught with firmness, always making her classes fun to bring out everyone’s best dancing. She was sought after for workshops and schools worldwide. Her skilled tutoring leaves an important legacy of qualified teachers. On Derek’s death in 2005, Maureen set up The Derek Haynes Annual Scholarship, from which many young dancers benefit. She continued to self-publish Derek’s Carnforth Collection, resulting in charity donations of thousands of pounds.

In 2018 Maureen was awarded the RSCDS Scroll of Honour.

Trevor Clarke, NW Craven Branch

William McLennan, London, Canada Bill was born in Scotland, emigrating to Canada in 1957. He joined London (Canada) Branch in 1963, teaching from 1973 until 1994. He organized the music for classes and monthly dances and served as Branch Chair and as Outreach Chairman of TAC. Bill and his wife Marie were honoured for cultural work by the London Multicultural Council and by the Government of Ontario.

In November 1997 the RSCDS presented them with a joint Scroll of Honour. Many of us owe a huge debt of gratitude to both for their friendship, support, wise counsel, generous hospitality, and for the many moments of joy they brought us.

Ann Naismith, Branch President, has died aged 97. Ann began teaching physical education at Govan High; the boys thought highly of her – reluctant dancers were told SCD would improve their footwork for rugby or football. For many years Ann taught the Branch ‘new book’ class. In retirement, she taught pre-school and adults in Hawick, and took over the Galashiels class from 1997 until 2004. Ann danced on for many years until latterly sitting beside the musician at class. She was greatly involved with the Braw Lads Gathering, whose Executive honoured her with Life Membership – then only the second woman to receive this award.

Eleanor Wood, Roxburgh, Selkirk and Peebles Branch

Margaret Shearer Margaret Shearer passed away in May last year aged 91, having spent 50 years enjoying and promoting Scottish country dancing. She started in Yorkshire, moving to Dunfermline Branch where she several times danced at the Edinburgh Military Tattoo. It was her enthusiasm that initiated the annual ‘Dancing in the Glen’. She moved to Crook of Devon, where, for over 25 years, she held both children’s and adult classes. She organised two eagerly attended dances every year. Margaret taught the true meaning of Scottish country dancing: fun, enjoyment and sociability.

Teresa Brogan, Ayr Branch

Eleanor Stewart, Inverness We were saddened to learn of the sudden death of Eleanor – a popular long-term member of our Branch, who taught SCD for Highland Council evening classes before teaching the Branch beginners’ class. Eleanor was a regular attender at St Andrews Summer School where she made many friends.

Irene Whyte, Inverness Branch

Barbara Jessop, London Canada Branch

www.rscds.org

29

Dancers’ Diary The Dancers’ Diary is compiled by Ian Brockbank. Please send details of your workshops and schools to ian@scottishdance.net. Issue 31 will cover events from October 2020 to April 2021.

April 2020 3-5 4 4 9-14

Helensburgh and District Branch Weekend School NW Craven Workshop for experienced dancers Swilcan Workshop and Jubilee Ball, Utrecht, Netherlands Central Germany Branch Easter Course (Advanced), Kuckucksnest 17-19 Winnipeg Branch Annual Workshop and Ball, Winnipeg, Manitoba 17-19 Lyon Branch Weekend 18 Argyll Scottish Dancing Group Day School, Guildford 25 Leeds Branch Highland and Scottish National Workshop 25 Cheltenham Branch Day School 25 Washington DC Workshop and Ball, Frederick, Maryland

May 2020 1-3 Spring Fling and Fringe, St Petersburg 8-9 Millport Weekend, Isle of Cumbrae 15-16 Isle of Skye Weekend, Portree 15-17 Spring Fling and Fringe, Toronto 15-17 Duns and District Branch Weekend 15-17 Benelux Weekend, Antwerp, Belgium 22-24 New York Branch Pawling Weekend 29-1/6 Munich Whitsun Course 31 Sacramento Branch Workshop and Ball, California

June 2020 12-14 Midwest Scottish Weekend, Beaver Dam, Wisconsin 24-28 Central Germany Branch Summer Course, Kuckucksnest

July 2020 5-11 Blue Ridge Scottish Dance School, Boone, North Carolina 10-18 Pinewoods Camp Scottish Sessions, Massachusetts 11

Leeds Branch White Rose Festival

19-16/8 RSCDS Summer School, St Andrews 24-26 TAC Teachers’ Conference Weekend 26-2/8 TAC Summer School 27

York and North Humberside Branch, Downey Day of Dance

August 2020 28-30 Central Germany Branch AGM Weekend, Proitze Mühle

September 2020 12 Lochaber Branch Day School, Caol, Fort William 19 Leeds Branch Day School 21 Lyon Branch Day School 25-27 Scottish Weekend, Cascade, Maryland 25-28 International Branch Dance Weekend, Buenos Aires 26 Dumfries Branch Half Day School 27-4/10 45th Australian Winter School, Northam, Western Australia

October 2020 2-4 Argyll Scottish Dancing Group Weekend, Somerset 2-4 Saskatchewan Branch Workshop, Saskatoon 3 York and North Humberside Branch Half Day School 15-18 Central Germany Branch Autumn Course, Kuckucksnest

30

www.rscds.org

16-18 Ottawa Branch Workshop 16-18 Youth Weekend Away, Bologna, Italy 17-18 Nova Scotia Fall Workshop, Dartmouth, Nova Scotia 23-25 Rechberg Scottish Dancers Weekend, Germany 24 Leeds Branch Highland Workshop 30-1/11 Asilomar Weekend Workshop and Ball, Pacific Grove, California

November 2020 6-8 RSCDS Autumn Gathering, Perth 14 Bristol Branch Day School, Henleaze 15 Berkhamsted Strathspey and Reel Club Day School 18-22 Central Germany Branch November Course, Kuckucksnest 27-29 Leeds Branch Malhamdale Weekend

December2020 4-6 Portugal December Weekend, Curia 28-5/1 New Zealand Branch Summer School, Christchurch

Membership Numbers In each of the last two years we have published RSCDS membership numbers on a country-by-country basis. The figures below were taken from the database in early February and show that we have members in 42 countries with branches in 17 countries. The total number is 10,763, down c.150 on the same time last year. What the figures don’t show is that we have recruited 948 members since July 2019 – a fantastic achievement. Congratulations to everyone who signed up a new member, and welcome to those reading the magazine for the first time. When you read the Annual Accounts, the numbers will be different as the numbers will be as of 1 April.

Last year’s numbers are in brackets.

Australasia 1864 (1990) New Zealand 648 Australia 678 Japan 535 Hong Kong 3 Kiribati 1

Netherlands 35 Switzerland 19 Spain 15 Norway 15 Ireland 10 Denmark 10 Belgium 10 Portugal 9 Luxembourg 5 Cyprus 4 Estonia 4 Belarus 4 Hungary 3 Croatia 1 Ukraine 1

Europe 749 (685) Germany 174 France 212 Sweden 81 Italy 49 Austria 43 Russia 41

Rest of the World 59 (52) South Africa 51 Argentina 4 Barbados 1 Mexico 1 Uruguay 1 Israel 1

The United Kingdom 4936 (5029) England 2380 Scotland 2344 Northern Ireland 163 Wales 49 North America 3155 (3154) United States 1738 Canada 1437

Join us for a week of Scottish dance in beautiful Calgary, Canada Online registration now open!

For dancers of all levels

Basic | Intermediate | Advanced

July 26 – August 2, 2020

Prices held over from 2019!

Daily classes | evening social dances | formal ball and banquet | evening after parties | accommodations and dancing at Mount Royal University Teacher Candidates’ Courses for Units 2 & 3 and for Unit 5 July 19 – August 2, 2020.

Teachers Janet Johnston, Scotland Ron Wallace, California Alan Twhigg, California Barbara Johnston, Canada

For info: tcc@tac-rscds.org

Musicians Judi Nicolson, Fred Collins, Ian Muir, Kathy Fraser Collins

Not pictured Terry Traub, Mary Ross

Register now! tac-rscds.org Sponsored by Scottish Country Dance Teachers’ Association (Canada)

www.rscds.org

31

The reel deal since 1954 For 60 years James Senior has been leading the way with our extensive range of Scottish Country and Highland dance footwear. Classic styling married with high-tech full-forefoot in-built shock absorption* ensures you can look the part without getting jiggered. * James Senior was the first to develop a completely integrated shock absorption system, medically proven to protect the metatarsal area and minimise the risk of injuries associated with Scottish dancing.

Tel: 01334 880545

Email: sales@jamessenior.co.uk

manufactured by st.andrews shoemakers jamessenior.co.uk

Unit 3, Newark Road South, Eastfield Industrial Estate Glenrothes, Fife, Scotland KY7 4NS

Factory visits welcome

+44 (0) 1592 779111 info@thistleshoes.com | www.thistleshoes.com Made in Scotland

Our shoes are made with the skills and crafts of old. We use the finest leathers that we can find for flexibility and durability.

•

Over 30 years manufacturing experience

•

Hand made in Scotland

•

Quality from a brand you can trust

•

Shock absorber / Anti-Stress insole

•

Authentic & Original

Bill Zobel: NOENE is the ultimate shock absorption and dispersant system, absorbing about 98% of the shock which in turn helps to relieve and rule out back pain, tendonitis and repetitive strain injuries. It has also passed the strictest tests to become a Class 1 medical device, the only shock dispersing insole to do so, which means it has proven medical benefits.

Thistle Shoes with the impact sole are exactly what I have been looking for. The quality is excellent. In all these years I have never had such superb service and attention to detail as I have from Thistle Shoes.