Céilí (Irish reformed spelling), or Ceilidh (Scottish and older Gaelic spelling), pronounced Kay-Lee in either case, is the traditional Gaelic social dance in Ireland and Scotland. In the old days, before discos and nightclubs, there were céilís in most town and village halls on Friday or Saturday nights and even now they are not uncommon. Originally céilís facilitated courting and prospects of marriage for young people and, although discos and nightclubs have displaced céilís to a considerable extent, they are still an important and popular social outlet in rural parts of Ireland and Scotland, especially in the Gaelic-speaking west coast regions. Céilís are sometimes held on a smaller scale in private or public houses, for example in remote rural hinterlands and during busy festivals.

Céilí music is provided by any assortment of fiddle, flute, tin whistle, accordion, bodhrán (pronounced Bough-Rawn) which is a wooden frame covered with the stretched goat hide, and in more recent times also drums and electric bass guitar. The music is cheerful and lively and requires knowledge of basic "123 123" dance steps.

The general format of céilí dancing is the "Set". A Set consists of four couples, with each pair facing another in a square or rectangular formation. Each couple exchanges position with the facing couple, and also facing couples exchange partners, while all the time keeping in step with the beat of the music.

However, about half of the dances in the modern Scots ceilidh are couple dances performed in a ring. These can be performed by fixed couples or in the more sociable "progressive" manner, with the lady moving to the next gentleman in the ring at or near the end of each repetition of the steps.

There is also a form of dancing which in the US would be called square or line dancing - the "Siege of Ennis", "The Walls of Limerick" and "The Stack of Barley" being the most popular dances in this genre; some of the céilí dance formations are named after famous historical battles and events, others after items of daily rural life as the last three examples show.

Step dancing is another form of dancing often performed at céilís, the form that has been popularised in recent years by the world famous Riverdance ensemble. Whereas Set dancing involves all present, whatever their skill, Step dancing is usually reserved for show, being performed only by the most talented of dancers.

The céilí has been internationalised by the Scottish and Irish diasporas in Canada, the United States, Australia and New Zealand, where local céilís and traditional music competitions are held. In recent years, céilí and traditional music competitions have been frequently won by descendants of emigrants.

English ceilidh

What is now called English ceilidh (also known in England as barndance) has many things in common with the Scottish/Irish social dance tradition. The dance figures are similar but English tunes tend to be slower and accentuate the beat, so dancers will often use hop step (skip) or rant step (hop on left twice, step on right, hop on right twice, step on left) rather than the smoother motion seen in Ireland and Scotland. There is usually a 'spot' halfway through the evening to give the band a rest, often involving the local Morris side. English ceilidhs always use a caller, who calls the dance figures the dancers need to make. Progressive dances (where you change partners) are rare, but people will swap partners every one or two dances; if you stick with someone for more than three, it's often assumed you're emotionally involved with them!

Many English ceilidh bands have strong influences from other forms of music, for example ska for Whapweasel, French traditional for Token Women, jazz for Chalktown, rock for Tickled Pink or West African and Indian for Boka Halat.

---

(Info from http://www.gremlinuk.com/gremlin/newgremlinsite/all_about_ceilidh.htm) During recent history, a Ceilidh has meant a party where a band of musicians would play live Scottish music and other traditional country dances. It is a very energetic, informal dancing style where you dance in different groups all night. It is an relaxed opportunity to meet and dance with a lot of people, and because the dances are so energetic, it is quite usual to pause for a chat and a drink between dances, or you can just watch the other dancers and enjoy the atmosphere.

Ceilidh is a word from Gaelic the ancient Scottish and Irish Language that survives today in the Highlands, Western Isles and parts or Rural Ireland. Translated into English, Ceilidh literally means a gathering of people in an informal social get-together. In bygone days neighbours would gather round the warmth of a peat fire in a thatched cottage and spend long winter nights in story and song. The ceilidh was primarily entertainment but at certain times during the troubled relationship between Scotland and England a ceilidh would have been an opportunity for the highlanders to meet and plan their campaigns against the English. It was an opportunity to discuss politics in their native Gaelic, a language that may have been disapproved of by the English speaking Lords. More generally it was a social gathering where through anecdote and folk-tale, the old people would tell the community's history, and the youngsters would listen and learn. More recently the word Ceilidh has centered around the idea of a party with a band playing traditional Scottish Country dances.

The moves... Dance instructions

The Britannia Twostep Formation: in threes around the room facing anti-clockwise, man between two ladies.

Music: 6/8 pipe march.

Bars: Description

1: Nearer hands joined, touch the left heel then the left toe to the floor, bouncing on the right foot with each touch.

2: All skip to the left for one step.

3-4: Repeat 1-2 with the opposite feet.

5-8: Skip forward for two steps, then backwards for two steps.

9-10: Set on the spot facing forwards.

11-12: Still setting, the man raises his arms and the ladies turn underneath.

13-16: Skip forward for two steps, then backwards for two steps.

Repeat ad lib.

The Canadian or Highland Barn Dance Formation: couples around the room facing anti-clockwise, ladies on the right.

Music: 2/4 or 4/4 pipe march (not 6/8) or scottische.

Bars: Description

1-2: Starting with the outside foot, walk forward for three steps and hop (or kick).

3-4: Walk backwards for three steps and hop.

5-6: Skip sideways away from your partner (men towards the centre of the room, ladies towards the edge) for two steps and clap.

7-8: Return to partner and join in ballroom (waltz) hold.

9-12: In ballroom hold, skip sideways to the man's left, lady's right for two steps then back again.

13-16: Use four step-hops to polka anti-clockwise round the room.

Repeat ad lib.

The Circassian Circle Formation: Large circle round the room, ladies on the right of their partner.

Music: 32 bar Reels.

Bars: Description

1-4: Hands joined in a circle, all advance for four steps, retire for four steps.

5-8: Repeat.

9-12: Drop hands, ladies advance and retire.

13-16: Men advance, turn round and walk out to the next lady CW (the one who was on their left; the one who is now to the right of their partner as they view).

17-24: All spin with new partners

25-32: Hands crossed in front (right to right and left to left), ladies on the outside, promenade ACW around the room.

Repeat ad lib.

The Cumberland Square Eight This is normally danced to tunes in common time (32 bar and the dance is 64 bars long) but can be and is sometimes done to jigs (6/8 tempo). I'll get round to adding the description at some point. The Dashing White Sergeant Formation: three facing three around the room, man between two ladies or lady between two men.

Music: The Dashing White Sergeant - 32 bar reels, starting and ending with "The Dashing White Sergeant".

Bars: Description

1-8: Join up in a circle of 6 and circle round to the left for 8 steps (4 bars) and back to the right.

9-12: The person in the middle turns to the person on their right and sets to them, then turns them once round right hand (variation - both hands). The other partner stands still.

13-16: Repeat with the other partner.

17-24: Using elbow grip, turn 1st partner, then 2nd partner, then 1st partner, then 2nd partner. (Variation - dance a reel of three, giving left shoulder to 1st partner to start).

25-28: In the lines of three, advance towards each other (two skip steps) and retire.

29-32: Both lines dance forwards, one line raising their hands in an arch and the other line dancing underneath, and dance on to meet the next set of three coming in the other direction.

Repeat with new three.

The Eightsome Reel Formation: four couples arranged around a square, lady on the right of the man. Couple with their backs to the music are couple number 1, couple on their left number 2, couple opposite number 3 and couple on the right number 4 (ie numbering clockwise).

Music: Lively reels, played 40 bars for the first time through, plus 8 lots of 48-bar repetitions, plus a final 40 bars. "The Deil Amagn the Tailors" is commonly used for the first and last 40 bars; other tunes often used include "Soldier's Joy", "Mrs MacLeod of Raasay", "The Fairy Dance", "The Mason's Apron".

Bars: Description

Chorus:

1-8: All join hands in a circle and circle round to the left for 8 steps (four bars) and back.

9-12: Ladies join right hands in the middle, and hold partners around waist, and all dance right hands across in a star (wheel).

13-16: Swing round (couples still holding around the waist) so the men join left hands, and dance back with a left hand star.

17-20: Face partners and set twice.

21-24: Spin partners (turn RH).

25-40: Giving right hands to partner to start, dance a grand chain around the set (keep going in the same direction and give right hand, then left hand, then right hand, ... until you get back to place). If you get back early, spin until the end of the phrase.

Figure - repeat 8 times

1-8: 1st lady goes into the centre of the set and sets while the others circle round to the left and back.

9-16: 1st lady sets to partner, turns him, sets to opposite man and turns him.

17-24: 1st lady turns partner, opposite man, partner, opposite man (variation - dance a reel of three with partner and opposite man, giving left shoulder to partner to start).

25-32: Repeat bars 1-8.

33-48: Repeat bars 9-24 with side men.

Repeat Figure with 2nd lady, 3rd lady, 4th lady, 1st man, 2nd man, 3rd man, 4th man in the centre.

Chorus: Repeat the 40 bars of the start of the dance.

The Gay Gordons Formation: couples around the room facing anti-clockwise, ladies on the right.

Music: 2/4 or 4/4 march. E.g. "Scotland the Brave", "The Gay Gordons".

Bars: Description

1-2: Right hands joined over lady's shoulder (man's arm behind her back) and left hands joined in front, walk forward for four steps, starting on the right foot.

3-4: Still moving in the same direction, and without letting go, pivot on the spot (so left hand is behind lady and right hand is in front) and take four steps backwards.

5-8: Repeat in the opposite direction.

9-12: Drop left hands, raise right hands above lady's head. Lady pivots on the spot. (The man may set).

13-16: Joining hands in ballroom hold, polka round the room.

Repeat ad lib.

For scottish country dancers, the grip in the first eight bars is allemande hold.

Highland Schottische Formation: couples in a circle around the room, ladies on the outside, men on the inside, joined in ballroom hold with partners.

Music: Schottische.

Bars: Description

1-2 Men with left foot, ladies with right, point toe in 2nd, bring foot up in front of shin (3rd aerial), point in 2nd and bring foot up behind calf (3rd rear aerial). Bounce on supporting foot on each of these four beats.

3-4 Step onto that foot, close other foot behind, step onto the original working foot again, and close original supporting foot behind calf.

5-8 Repeat 1-4 with other leg.

9-10 Repeat 3-4 (ie step, close, step, hop).

11-12 Repeat 7-8 (ie 9-10 in other direction).

13-16 Polka as in Canadian barn dance - step, hop, step, hop - rotating clockwise and following line of dance anticlockwise around the room.

Repeat ad lib.

There follow chapter, verse, chorus and encore on the "Schottische" (for whom it may concern !) from Charles Gore:

The Highland Schottische was introduced in 1855 and was known by the name of "the Balmoral Schottische" (Robbie Shepherd, who knows all there is to know - and quite a lot besides - about Scottish Dancing) Scott Skinner published a "Balmoral Schottische" in his Elgin Collection (1884); on the same page of this collection is a tune of his called "Glenlivet" which describes as Strathspey or Highland Schottische. [From a Dictionary of Music]; "Schottische (English !), Schottisch (German "Scottish", a misnomer since there is no evidence of Scottish origin); the German Polka, a round dance of the mid-19th cent. Some books confuse it with the Ecossaise, which is a country dance and thus very different. Both are in simple duple time. [From Caoimhin Mac Aoidh, "Between the Jigs and the Reels"]: The Berlin Polkey was a popular dance in Donegal maybe in the late 19th c. and up to 1930 or so. The Highland is special to Donegal; though universally so called "it appears to have originated from the Schottische, a dance of German origin". "The Highland as commonly performed throughout Donegal today is a couple dance (ie. a girl and a boy)", dancing first side by side, then face to face. The term "Highland Schottische" appears to have arisen to differentiate it from a "German Scottische". "A Barn Dance in Donegal has the unusual title of the "german". [Are you still with me ?] There is no precise equivalent in Gaelic. Highland Scottisches seem to have been danced (traditionally) to tunes like "Orange and Blue", "Lad wi' the Plaidie", "Cathkin Braes" and "John MacAlpine" (aka: Oft in thStilly Night). They all look like strathspeys to me! Charlie The Military Twostep Formation: couples around the room facing anti-clockwise, ladies on the right.

Music: 6/8 pipe march.

Bars: Description

1-2: Lady with hand on man's shoulder, man with arm around waist, touch heel then toe of outer foot to ground twice, bouncing on the inner foot with each touch.

3-4: Walk forward for three steps then turn towards each other to face in the opposite direction.

5-8: Repeat in the opposite direction.

9-10: Facing partner and joining both hands, bounce on both feet, then kick the right foot across the body (to the left), followed by the left foot across the body (to the right).

11-12: The man raises his left hand and the lady turns underneath (dropping the other hand).

13-16: Polka around the room.

Repeat ad lib.

The Pride of Erin Waltz Formation: couples around the room facing anti-clockwise, ladies on the right.

Music: 32 bar waltzes.

Bars: Description

1-4: Nearer hands joined, swing the inner leg (and joined hands) forward and back, then walk forwards.

5-8: Repeat in the opposite direction.

9-10: Facing partner, both hands joined, and heading clockwise, cross trailing leg over leading leg (ie right over left for ladies, left over right for men), then point with leading leg.

11-12: Repeat in opposite direction.

13-16: Take four steps anti-clockwise, pulling leading shoulder back to face alternately away from and towards your partner with each step.

17-24: Joining both hands, swing together (slightly to the right of partner) and away, then change places, turning the lady under the man's left arm while doing so. Repeat.

25-28: In ballroom hold, take two steps anti-clockwise, then two clockwise.

29-32: Waltz round the room.

Repeat ad lib.

The St. Bernard's Waltz Formation: couples around the room in ballroom hold heading anti-clockwise, ladies on the outside. Music: waltzes.

Bars: Description

1-4: In ballroom hold, take three steps sideways towards the lady's right, man's left, then stamp both feet.

5-6: Take two steps sideways in the opposite direction.

7-8: Take two steps towards the centre of the room (lady heading forwards with right foot then left foot, man backwards with left foot then right).

9-10: Take two steps back out (same feet).

11-12: Lady turns about on the spot under the joined hands.

13-16: Waltz onwards round the room.

Repeat ad lib.

Strip the Willow Formation: Longwise sets of 4 couples, men on the right and ladies on the left as viewed from the band. Couples number from nearest the band. Music: 6/8 or 9/8 double jigs. E.g. "The Irish Washerwoman", "The Curlew", "The Jig of Slurs" for 6/8 and "Drops of Brandy" for 9/8.

Bars: Description

1-8 1st couple spin RH.

9-20 1st lady turns 2M LH, partner RH, 3M LH, partner RH, 4M LH.

21-24 Spin with partner RH to the end of the phrase.

25-36 1st man turns 4L LH, partner RH, 3L LH, partner RH, 2L LH.

37-40 Spin with partner RH to the end of the phrase.

41-52 1st lady works down men, while 1st man works down ladies, turning 2C LH, partner RH, 3C LH, partner RH, 4C LH.

53-56 Spin with partner RH to the end of the phrase.

Repeat ad lib.

Orcadian (or Shetland) Strip the Willow Formation: Couples in a long line down the room, men on the right and ladies on the left as viewed from the band. Couples number from nearest the band. Music: 6/8 or 9/8 double jigs. E.g. "The Irish Washerwoman", "The Curlew", "The Jig of Slurs" for 6/8 and "Drops of Brandy" for 9/8.

Bars: Description

1-8 1st couple spin RH.

9-... 1st couple work down the opposite line (ie of the people of the opposite sex) turning side person LH, partner RH, next side person LH, ...

When 1st couple reach the bottom, they spin to the end of the phrase, then join the side lines.

A new couple starts every 16 bars.

The Swedish Masquerade Formation: couples around the room in heading anti-clockwise, nearer hands joined, ladies on the outside. Music: That tune...

Bars: Description

Slow march 1-8 With nearer hands joined, walk slowly along the line of dance

9-16 With nearer hands joined, walk slowly against the line of dance back to starting point

Waltz 17-20 With nearer hands joined, facing along line of dance, balance away from partner and back towards partner twice. 21-24 Waltz along line of dance. 25-32 Repeat bars 17-24. Polka 33-36 With nearer hands joined, facing along line of dance, balance away from partner and back towards partner twice. 37-40 Polka along line of dance. 41-48 Repeat bars 33-40. When 1st couple reach the bottom, they spin to the end of the phrase, then join the side lines.

A new couple starts every 16 bars.

The Virginia Reel This seems actually to be a family of similar dances - probably word-of-mouth having lead to variations. One variety is: Formation: Longwise sets of 4 couples, men on the right and ladies on the left as viewed from the band. Couples number from nearest the band.

Music: "Hoedown" reels, e.g. "Turkey in the Straw".

Bars: Description

1-8 All advance and retire, then turn partners RH.

9-16 All advance and retire, then turn partners LH.

17-24 All advance and retire, then turn partners BH.

25-32 All advance and retire, then dance back to back with partners (do-si-do).

25-32 1st couple join both hands and side slip down the middle and back.

25-32 1st couple, followed by 2nd, 3rd and 4th couples cast off to the bottom; 1st couple make an arch and the other three couples dance up to new positions.

Finish 2,3,4,1, ready to start again.

One variation has bars 33-40 expanded - slip down to the bottom (4 bars) and strip the willow back up again (12 bars), followed by the cast and arch figure on bars 49-56. There is also a 64-bar version which I can't remember at the moment.

Terminology Up/Down In a longwise set, the couple nearest the band is numbered 1, and the other couples are numbered 2, 3, 4 (and 5, ... if appropriate) working down the line. "Up" is towards the band, and "down" is away from the band. Ballroom hold has the man facing the lady, lady's right hand in man's left, man's right hand on lady's waist, and lady's left hand on man's right shoulder.

Line of dance (LoD): the direction a normal waltz (polka or whatever) moves around the floor (anti-clockwise around the room).

Anti-line of dance (Anti-LoD): the opposite to LoD.

Setting

The basic idea of a setting step is to spend two bars admiring your partner (or someone else) while shifting the weight from foot to foot. To be more precise (something alien to the ceilidh dance ethos, but hey!) the step is the pas de basque:

Bar 1: step onto the left foot beat with the right foot in third position (a "T" formation with your feet, right heel in left instep), bringing the left foot off the ground step back onto the left foot pause (if you're feeling ambitious, go for the jette' at this point) Bar 2: Repeat with opposite feet. Note the phrasing with 4 beats in the bar, even though you only do things on three of them. Best practised to a reel (4/4 - "egg and mustard") rather than a jig (6/8 - jiggety jiggety).

cast off or "cast to 2nd place"

A cast takes you behind the standing person/people (or where they would be if they were standing) - "off" takes you "down" the set (away from the band, towards the higher numbers), up takes you "up" the set. Unless otherwise stated, you only move one place down or up. eg:

/--1M 1L--\ | | \->2M 2L<-/

3M 3L

4M 4L Cast off one place (also in this instance cast off to second place) - note if 2nd couple are still there they will get run over.

Reel of 3 Reel of 4

Think of a reel of three with an extra person and an extra loop. Four dancers in a line, middle dancers facing out, outer dancers facing in.

/ / Out1 Mid1 Mid2 Out2 / / Bar 1: Out1 & Mid1, and Mid2 & Out2 Pass RS. Bar 2: Out1 and Out2 pass LS _while_ Mid1 and Mid2 turn around to face in. Bar 3: Mid1 & Out2, and Out1 & Mid2 Pass RS. Bar 4: Mid1 and Mid2 pass LS _while_ Out1 and Out2 turn around to face in. Bars 5-8: Repeat (heading in opposite direction) back to place.

External links

• Webfeet (http://www.webfeet.org/eceilidh/index.html) has a list of English ceilidh bands and dances in England, Wales and Scotland, with a map (http://www.webfeet.org/map/index.html) and RSS/iCal feeds (http://www.webfeet.org/tech/index.html).
• The Round (http://www.cam.ac.uk/societies/round/ceilidh.htm) is the website of the Cambridge University ceilidh society, and an excellent resource on e-ceilidh.
• Furori Ceilidh band (http://www.gremlinuk.com/globalgig/furoryceilidhband.htm) Best Young Ceilidh Band in Scotland.