February 2005 Newsletter

Welcome back to all who have had a “time out” from SCD! It’s good to see you again.

Unfortunately, the beginning of our Winter session was marred by thieves. While we were all dancing in the gym at Gower Street United, three of our members had purses, keys, bags, and even a jacket stolen from the other room. This was a costly lesson which we are taking to heart. In future the doors will be kept locked, so if there is no-one to let you in when you arrive on Monday nights, knock loudly! It is a good idea to keep all your valuables, including car keys, with you in whichever room you are in.

Earlier this month Pat asked for any suggestions or comments about the programme, and one commonly voiced concern was that the evening was a bit too long for tired feet and minds. In future, classes on Monday will run from 7:45 to 10:00 p.m., with a short tea break. Please try and arrive promptly so that we don’t lose dancing time. (And don’t forget to bring your own mugs, to save using those styrofoam cups!)

Another change to note is the venue for the March and May socials. The Masonic Temple has cancelled our bookings made back in the Fall, and so we will now be dancing at Vanier S chool. Remember the time has also moved to 7:30 p.m. and we will have the refreshments at the intermission. Please bring some nibbles.

Do try and run through the steps in the dance booklet before you come, especially as two of the dances will not have walk-throughs this time. I find it’s much more fun when you know what you are supposed to be doing! And while you are on your feet, try the old steps described later in the extract from The Dance Music of Scotland, 1854.

Noreen thanks all those who attended the dance evening at Glenbrook Lodge on February 8. This annual event is a long-standing commitment of the group, and always much appreciated.


Mary Bridson, Editor


Profile: Noreen MacLennan, Honoured Lady of the Dance

(Of all our teachers, Noreen has the longest association with the St. John’s group, and has contributed greatly to many forms of dance, both here and away. She tells her own story.)

I was born and grew up in Stonehaven on the north east coast of Scotland, near Aberdeen. I did SCD at Brownies and Guides and also in school where it was part of the Phys. Ed. curriculum. In 1952 I moved to London, England, and discovered SCD on the social level. There were opportunities to dance to the big Scottish Dance Bands of that era, namely Jimmy Shand and Jim Cameron. While there I had the opportunity to take Highland Dance lessons from the well known teacher, Jack McConnachie.

In 1954, I joined my parents in Toronto. I danced with several groups, performing in many demonstrations at concerts, festivals etc. One of the highlights was appearing on CBC Take 30 in their programme on Hogmanay. In 1957, Miss Milligan, the founder of the Society, visited North America to conduct examinations of Candidate teachers, and I was successful in obtaining the Preliminary Certificate. She returned two years later, and I earned the Full Certificate. By this time I had become a school teacher and taught SCD in the classroom, and in after-school groups.

While in Toronto I became involved with an international folk dance group and widened my experience with exposure to many forms of ethnic dance. I eventually taught folk dance at various age levels, always including Scottish, and also taught a folk performance group for several years. I did several original choreographies, particularly for the annual Israeli Dance Festival. I attended several Dance Camps in California where, besides ethnic dance, there were sessions in SCD. One of the outstanding teachers whose classes I had the pleasure of attending was C. Stewart Smith. Over the years I have attended many workshops and have built many far ranging friendships in the Scottish dance community.

I joined the St. John's Dance Group around 1980, and about a year later took over the teaching from Eddie Moore. In the following years, besides teaching socially, I directed the demonstration group. We performed locally at folk festivals, concerts at the Arts and Culture Centre, City Hall, the Penitentiary (!!!), Schools, and Seniors Homes. In 1985 we travelled to the Codroy Valley to take part in their Annual Festival, and in 1986 we were invited to St. Pierre to participate in the Bastille Day Celebrations. As most of our dancers did not have an opportunity to travel off the island to interact in other dance situations, I proposed to the group that we have a workshop here. The result was our first workshop in 1987, which was followed by many more, bringing many different teachers, thereby broadening the dance experience of our members. I also resumed my school teaching career, teaching on Shea Heights, and taught dancing to several age groups, who performed regularly in school concerts.

In 1988, Martin Mulligan and Bill and Sue Scott moved to St. John’s, and with additional teachers we were able to diversify levels of classes. I continued teaching and being involved with the demonstration group until 1991, when I retired from my job, and also semi-retired from SCD. On this occasion the group commissioned a specially composed tune, "Noreen MacLennan," from the RSCDS official musician, Muriel Johnstone, and presented a framed copy to me. I continued to work with Martin on the demonstration group when he was in charge, and filled in for teachers when required.

In 1999 the group paid me the ultimate tribute when they nominated me for a RSCDS Scroll of Honour, a few of which are awarded annually. This was accepted, and in November, 1999, I went to Edinburgh to receive the award. This took several months to arrange and was the best kept secret, as everyone knew – except me! The announcement was made at a summer workshop, and the occasion was marked by the performance of a dance devised by Martin, “The Bervie Braes,” for which Bruce had composed a lead tune, "Noreen MacLennan of Stonehaven." Kathy McKay made and iced a commemorative cake.

Some years ago there was a proposal to publish a collection of dances devised in Newfoundland. This finally came to fruition in 2002. Martin and I edited the dances, which included some of my own compositions – The MacDonald Jig, Roond the Hoose, The St. John's Jig, Olive's Farewell and Burn's Nicht Celebration. I enjoy all Scottish dances, but if I had to choose favourites, my choice would be Montgomeries' Rant, Mairi's Wedding, The Glasgow Highlanders and John McAlpin, because each evokes a special memory of a place, occasion, or person.

A few years ago I attended an English/American dance camp at Pinewoods and thereafter a request was made to start an English Dance Group here. Martin and I, with Bruce and Jo Shawyer, put our heads together and the ECD group was born. Now in our 9th year, we are fortunate to dance to live music on the three Wednesdays of the month when we meet. We have gradually increased our membership and our repertoire. Every year at the end of April we have our final party – The Spring Maggot – which is held at Bally Haly.

As for hobbies – yes, I do have time for some. I do a lot of arts and crafts of various types. Sewing, and in particular quilting, heads the list. I enjoy gardening, particularly in my country garden. I do tole painting and read avidly. I enjoy travelling and am in the fortunate position that when I visit my son and family in Vermont, I have opportunities to ttend dances or workshops. Both my son and his wife are professional musicians who play for Contra, English and some Scottish dancing. My son Keith is an accomplished Scottish dancer, and when he lived in Toronto for several years, besides dancing, he played for Scottish dance classes and some dance sessions. So I am happy to see that the torch has been carried on to the next generation.

I would like to express my gratitude to the group for their overwhelming gestures of appreciation over the years, as described above, and assure them that they have done as much for me as I for them.


Noreen MacLennan


News from Away

We received Christmas greetings and good wishes from former members Robin and Jason Churchill in Guelph. They announced the birth of their son Dominic on February 11, 2004, and in the accompanying photograph they all looked in great form.

[Jason, Robin and Dominic]


On the Button!

The Scott Tournament of Hearts, the top Canadian women’s curling championship, is taking place at Mile One Stadium in St. John’s, February 19-27, and Newfoundland and Labrador is being represented by the Heather Strong rink. Bridgette Hamilton’s daughter, Beth, throws second rock on the team, and is making her first appearance at the national championship. We wish them every good fortune in their play.


Pot Luck Supper

Last year we held a pot luck supper in conjunction with our Annual General Meeting at Gower Street United, and it was a great success. There are some really good cooks among our members! We followed the meeting with a combined dancing session to work off the calories. We are doing the same again this year on Monday, April 18, so please make a special effort to attend.


“Observations on the Scotch Reel”

An extract from The Dance Music of Scotland, by J.T. Surenne, published in 1854.

(Courtesy of Bruce Shawyer. See the January 2005 Newsletter for Part 1.)

. . . Before I attempt to describe the principal steps made use of in Scotch Reels, it may be proper first to premise that I have used my best endeavours to ascertain their Gaelic names, and have reason to think I have been successful in my inquiries. And here I am prompted by gratitude to acknowledge my obligations to a literary friend (well versed in the Gaelic language) who has obligingly favoured me with the etymology of the terms, or adopted names of the steps I am about to describe. These terms may be of use to the master, as they serve to distinguish the different steps from one another, and may induce a degree of speculation in the philologist. . . .

I have further to remark that, for the purpose of distinguishing steps, many of which do not materially differ but in their number of motions, I make use of the previous terms, Minor, Single, and Double. The first (Minor) is when it requires two steps to one bar of the tune ; the second (Single) is when one step is equal to a bar ; and the third (Double) is when it requires two bars to one step.

  1. Kemshoole, [5] or Forward Step. This is the common step for the promenade, or figure of the Reel. It is done by advancing the right foot forward, the left following it behind; in advancing the same foot a second time, you hop upon it, and one step is finished. You do the same motions after advancing the left foot, and so on alternately with each foot during the first measure of the tune played twice over; but if you wish to vary the step, in repeating the measure, you may introduce a very lively one by making a smart rise, or gentle spring forward upon the right foot, placing the left foot behind it; this you do four times, with this difference, that instead of going a fourth time behind with the left foot, you disengage it from the ground, adding a hop to the last spring. You finish the promenade by doing the same step, beginning with the left foot. To give the step its full effect, you should turn the body a little to the left when you go forward with the right foot, and the contrary way when you advance the left.

  2. Minor Kemkóssy, [6] Setting or Footing Step. This is an easy familiar step, much used by the English in their country-dances. You have only to place the right foot behind the left, sink and hop upon it, then do the same with the left foot behind the right.

  3. Single Kemkóssy, Setting or Footing Step. You pass the right foot behind the left to the fifth position, making a gentle bound, or spring, with the left foot, to the second position; after passing the right foot again behind the left, you make a hop upon it, extending the left toe. You do the same step by passing the left foot twice behind the right, concluding, as before, with a hop. This step is generally done with each foot alternately, during the whole of the second measure of the tune.

  4. Double Kemkóssy, Setting or Footing Step. This step differs from the single Kemkóssy only in its additional number of motions. You pass the foot four times behind the other before you hop, which must always be upon the hindmost foot.

  5. Lematrást, [7] Cross Springs. These are a series of Sissonnes. You spring forward with the right foot to the third or fifth position, making a hop upon the left foot, then spring backward with the right, and hop upon it. You do the same with the left foot, and so on, for two, four, or as many bars as the second part of the tune contains. This is a single step; to double it, you do the springs forward and backward four times before you change the foot.

  6. Seby-trast, [8] Chasing Steps, or Cross Slips. This step is like the Balotte. You slip the right foot before the left; the left foot behind the right ; the right again before the left, and hop upon it. You do the same beginning with the left foot. This is a single step.

  7. Aisig-thrasd, [9] Cross Passes. This is a favourite step in many parts of the Highlands. You spring a little to one side with the right foot, immediately passing the left foot across it; hop and cross it again, and one step is finished; you then spring a little to one side with the left foot, making the like passes with the right. This is a minor step; but it is often varied by passing the foot four times alternately behind and before, observing to make a hop previous to each pass, the first excepted, which must always be a spring or bound; by these additional motions it becomes a single step.

  8. Kem-Badenoch, a Minor Step. You make a gentle spring to one side with the right foot, immediately placing the left behind it ; then do a single Entrechat, that is, a cross caper, or leap, changing the situation of the feet, by which the right foot will be behind the left. You do the same, beginning with the left foot. By adding two cross leaps to three of these steps, it becomes a double step.

  9. Fosgladh, [10] Open Step. Slip the feet to the second position, then, with straight knees, make a smart spring upon the toes to the fifth position; slip the feet again to the second position, and do a like spring, observing to let the foot which was before in the first spring, be behind in the second. This is a minor step, and is generally repeated during the half or the whole measure of the tune.

  10. Cuartag, [11] Turning Step. You go to the second position with the right foot, hop upon it, and pass the left behind it; then hop, and pass the same foot before. You repeat these alternate passes after each hop you make in going about to the right. Some go twice round, concluding the last circumvolution with two single cross capers. These circumvolutions are equal to four bars, or one measure of the tune. Others go round to the right, and then to the left. These, also, occupy the same number of bars.

Combined or Mixed Step.

These are an association of different steps, and which are necessary to add variety to the dance. For example ; you may add two of the sixth step (Seby-trast) to two of the third, (Single Kemkóssy.) This you may vary by doing the first of these steps before instead of behind ; or you may add two of the second step (Minor Kemkóssy) to one Single Kemkóssy. These steps may be transposed, so that the last shall take the place of the first. Again: two of the sixth step (Seby-trast) may be added to the fourth step (Double Kemkóssy) in going to either side. Another variety much practised is to spring backward with the right foot, instead of forward, as in .the fifth step, and hop upon the left; then spring forward and again hop upon the same foot, and add to these two springs one Single Kemkóssy, passing the right foot behind the left. You do the same step, beginning it with the left foot. In short, without particularizing any other combinations, I shall only add that you have it in your power to change, divide, add to, or invert the different steps described, in whatever way you think best adapted to the tune, or most pleasing to yourself.

FOOTNOTES
[5] "Or, according to its established orthography, Céumsiubhail, from Ceum, a step, and siubhal, to glide, to move, to go on with rapidity."
[6] "Céum-coisiche, from Céum, a step, and Coiseachadh, to foot it, or ply the feet."
[7] "From Léum, a leap, a spring, and Trasd, across."
[8] "From Siabadh, to slip, and Trasd, across."
[9] "From Aiseag, a pass, and Trasd, across."
[10] "An opening."
[11] "From Cuairt, a round, a circumvolution."


Dance Scholarship

Applications for the dance scholarship sponsored by our group must be in by March 31. Contact a member of the executive for details.


Nomination Committee

A new executive will be elected at the AGM on April 18. Fresh blood and a sharing of ideas and responsibilities is always welcome, so if you would like to serve, please contact one of the nomination committee: Elizabeth Green, Bridgette Hamilton and Denise Sharpe.