Aktuality 20. 2. 2026
Málo známé ceilí tance – část první
Irské ceilí tance jsou součástí tradiční taneční kultury Irska. Vyvíjely se po několik století. Teprve na konci 19. století a počátku 20. století se jim dostalo větší pozornosti těch, kteří usilovali o to, aby se tento druh taneční kultury nepropadl do zapomnění. O výraznější popularizaci se v 1. polovině 20.století se zasloužila organizace An Coimisiún, která v průběhu let 1939 – 1969 vydala celkem 3 sešity tanců o celkovém počtu třiceti. Sešity byly výsledkem práce řady sběratelů a organizátorů irských ceilite . Tato sbírka třiceti tanců s názvem Ar Rinncidhe Foirne se stala základem programu tanečních škol a zdrojem společenských tanců vedle soutěžních sólových tanců.
V průběhu 20. století se An Coimisiún, která měla pečovat o uchování irského tanečního umění, se koncentrovala hlavně na soutěžní sólový tanec, ceilí společenské tance byly na okraji zorného úhlu a tak je realitou, o které je psáno dále, že dnešní tanečnice a tanečníci nevědí moc o irské tradiční kultuře a netuší, že ceilí dancing je mnohem bohatší než ona sbírka „Třiceti“, z níž je jen malá část využívána v soutěžení tanečních škol. Tím mnoho tanců upadlo do zapomnění a i když se nějakou část podařilo zachránit a dostat do povědomí prostřednictvím různých sbírek, je tu ještě dost tanců, kterým se pozornosti sběratelů nedostalo a upadají do zapomnění.
John Cullinane – foto V.Bernard
O to, aby se tak nestalo, se v průběhu svého života staral Dr. John Cullinane, sám tanečník, funkcionář CLRG a hlavně zakladatel CAC archivu. Díky jemu a jeho publikační činnosti neupadlo v zapomnění mnoho zajímavých událostí a historických linií An Coimisiún a irského tance obecně. Spolupracoval s americkým tanečníkem a učitelem irského tance na již vydané publikaci 30 zapomenutých tanců. Většinu těchto tanců však byla publikována ve sbírkách, jejichž seznam jsme už na našich stránkách uváděli.
S Johnem nás spojuje zájem o historii irského tance a díky tomu jsme získali přístup k řadě zajímavých materiálů, mezi nimiž jsou i popisy již dávno zapomenutých tanců. Jedním z těchto materiálů je Johnova kniha Further aspects of the history of Irish dancing, která vyšla v roce 1990 a obsahovala popisy řady zajímavých ceilí tanců. V dalším vydání z roku 2001 se již tato kolekce neobjevila. Protože však první vydání této jeho knížky je rozebráno, obdrželi jsme laskavý souhlas autora s publikováním těchto tanců na našich webových stránkách.
Dovolili jsme si některé komentáře přeložit do českého jazyka, nicméně popis tanců a terminologii jsme ponechali v anglickém jazyku, protože daleko přesněji a možná i srozumitelněji vyjadřuje provedení tance. V některých tancích se autor odvolává na části z jiného tance. Tam jsme si dovolili popis doplnit o text vycházející z popisu v jiném tanci, abychom usnadnili porozumění popisu a nenutili čtenáře k přeskakování k jinému materiálu.
Rádi bychom na tomto místě zdůraznili, že irský tanec se vyvinul z potřeb běžné populace se společensky stýkat, komunikovat, bavit se a asi nikdy v historii o tomto druhu zábavy neuvažovali Irové jako o sportovní disciplíně, kterou se téměř stala v několika posledních desetiletí. Bylo by proto moc hezké, kdy by se tyto tance vrátily tam, kam patří a plnily tu úlohu, kterou jim přisoudili jejich tvůrci. A nyní už předáme slovo Johnovi.
Na počátku třicátých let 20. století Seán Og O Ceallaigh, nadšený tanečník Ceilí, který věděl, že návštěvníci Ceilí v Dublinu a jinde mají jen chabé, útržkovité znalosti běžných ceilí tanců, se rozhodl udělat něco pro nápravu situace. Oslovil Coiste Gnótha z Chonradh na Gaeilge (stálý výbor gaelské ligy), jejímž byl členem, a získal povolení publikovat některé naše ceilí tance v The Sunday Independent. Vlastním původní strojopisnou kopii rukopisu Seána Oga O Ceallaigha, který pravděpodobně publikoval v novinách. Předchází sedm „bodů k zapamatování“, které se zabývají úkrokem, tancem a jak se při tom držet za ruce. První publikovaný tanec byl Walls of Limerick. To se ukázalo jako velmi úspěšné a vytvořilo jádro první knihy Ar Rinncidhe Foirne vydané v roce 1939. Uspořádalo se setkání členů komise včetně slavného Joea Halpina a Cormaca O’Keeffea, aby se diskutovalo o tancích, jak byly vytištěny v novinách před vydáním knihy.
Na několika následujících stránkách bych vám rád představil podle svých možností některé tance, které již téměř vymřely. Patří mezi ně (a) dva tance z Jižního Armaghu, The King’s Head a The Soldier’s Joy; b) výběr různých čtyřručních tanců. Tyto tance zde uvádím, jak nejlépe umím, s prosbou, aby byly někdy někde znovu vzkříšeny a uvedeny. Prosím.
Kolik čtenářů zná pouze jeden Four-hand reel? Kolik lidí si myslí, že bychom měli být navždy omezeni na jedinou (monotónní?) verzi těchto tanců, zatímco my, kteří tvrdíme, že pěstujeme naše tradiční irské tance, opomíjíme velké kusy našeho dědictví? Doufám, že k zamyšlení.
The King’s Head (Tomás O’Faircheallaigh – see Céim No. 31)
V článku v 6. části Céim slečna Nan Quinn z Bessbrook Co. Armagh zmiňuje velké množství tanců, které nasbírala na jihu svého hrabství. Jedním z nich byla Králova hlava.
Slečna Quinnová píše: „Vzpomínám si, když jsem poprvé slyšela o The King’s Head, jeden z houslistů se mě zeptal, jestli znám melodii. Řekla jsem ne! Pak zahrál melodii známou tu nám jako The Soldier’s Joy. Řekla jsem, že znám melodii, ale pod jiným jménem.
Řekl, že nikdy neslyšel, že by se to jmenovalo jinak než The King’s Head, a oni v Co. Armagh měli píseň na melodii, jejíž refrén mi zpíval:
We’ll dance a ring o’rosie round the ould King’s head;
We’ll dance a ring o’rosie round the ould King’s head;
We’ll dance a ring o’rosie round the ould King’s head,
For the young King’s married and the ould King’s dead.
Řekla jsem: „Dobrá! Nerozpadneme se kvůli tomu, protože svatba mladého krále byla s největší pravděpodobností radostí vojáka! Co záleží na jménu? Budeme milovat naše domorodé melodie pod jakýmkoli jménem a budeme milovat naše tradiční tance jednoduché i složité.“
Toto jeden z jednoduchých tanců a my ho zde předkládáme tak, jak jsme ho získali od paní Quinn.
An Eight-Hand Figure Dance in Reel Time.
Formation: All join hands and form a ring
Beginning: All dance side step and two threes clockwise and back to place; then all side step anti-clockwise with „threes“ and back as before (16 bars)
An Chabhail (Body): Three Cornered Hook, Gents of first and opposite Tops advance towards each other with Promenade Step, hook right arms, pass on to Gent on right of original position, hook left arms, pass behind own partner back to place (6 bars). Now all clap alternate hands on legs above knees four times (1 bar) and clap hands three time (1 bar) keeping time with the tune. Side Gents then repeat the movement. This completes the Body (16 bars)
First Figure: All Round Arch.
First Tops and Opposite Tops exchange places, First Tops making arch and Opposite Tops passing under; Sides exchange places immediately after, First Sides making arch and Opposite Sides passing under. Then all dance the ‚Sides Under Arms‘ movement, First Tops passing under arms of Opposite Sides while Opposite Tops make arch for First Sides. Tops are now in places first occupied by Sides and vice versa. From this position the movement is repeated, Sides moving first. (16 bars).
Second Figure – Hook and Chain:
Gents hook lady on left with left arm, then hook own partner with right arm. Chain back to lady on left with left hand, and continue the chain movement until all dancers regain their former places. (16 bars)
Third Figure – All In or Thread the Needle:
All form ring and take hands except Gent of First Tops and Lady on his left. Top couple raise hands to make an arch. Lady on left passes through and round to her place taking all the dancers in line after her. Repeat this movement, Gent of First Tops passing under arms of couple on his left, others following (16 bars)
Repeat Body. This completes the dance.
Please note that the Hook and Chain movement is rather different from that in The Three Tunes.
xxxxx
The following is a dance got from Peadar Rafferty and named The Soldier’s Joy. He said that the correct name is Killeavey’s Pride and was a dance for any number of couples (presumably danced to the tune The Soldier’s Joy). The original dance consisted of movements B, C, E and F only, movements A and D were added on by Rafferty.
The Soldier’s Joy (any number of couples)
A. Ring: Holding hands all sidestep to left and back (8 bars)
B. Ladies‘ Ring:
Ladies hold hands „ring“ to left and back, with promenade step, finishing up last two „threes“ in place, winding arms around each other and clapping hands three times. While ladies wind hands, gents „threaten“, shaking fist, right fist then left and finish up with three claps (8 bars).
C. Gent’s Ring:
Gents now do ring as above, all finishing up as above (8 bars).
D. Setting Step & Back To Back:
Partners face each other and do setting-step (pas-de-basque) four times (4). Then they pass around each other with same step, right shoulders passing, and so back to places (8 bars).
E. Hook & Chain:
Partners hook elbows, turn in place, and gents chain on to lady on left and swing partner back to place (8 bars).
F. Lead Around:
Lead around to places, gent’s right hand on lady’s left shoulder, left hand in lady’s left, lady holding skirt out with right hand. On last two „threes“ reform in ring and recommence dance (8 bars).
Oba předchozí tance se obvykle tancovaly na melodii Soldier’s Joy. John uvedl tento tanec s prvky tance předchozího společně s účastníky Bernard’s Summer School v roce 2018 na Závěrečném večeru a je součástí videozáznamu, který byl na tomto večeru pořízen.
xxxxx
Fionnala Four-Hand Reel (J.M.Lang)
See also Burchenal’s book 1925, page 55.
1. Lead Round (16 bars)
2. Body: (a) Sides and Change Over: Partners dance seven by each other and back (4), all promenade to opposite positions (gents on outside of ladies when crossing) and face about (4). All repeat sevens and change over to original positions (8). (16 bars)
(b) Swing With Opposite Lady Then Partner: Gents swing with opposite ladies and full turn ending in opposite gent positions (4). Gents swing partners and full turn and end in original positions (4). (8 bars).
(c) Arch and Through: Leading couple advance with arched arms. Opposite couple pass under, all continue to opposite positions and face about (4). All repeat same movements to original positions opposite couple forming arch (4) (8 bars).
(d) Right and Left Wheels (as in Kerry Four Hand Reel but do not join hands): All give right hands across in centre but do not join hands and dance round (4). All give left hands in centre and dance round, releasing hands face partners in original positions (4). (8 bars).
(e) Ring to Right and Left, Left and Right: Sidestep in ring to right and left and then Left and right (8 bars).
3. Figures: (1st) Advance, Retire and Swing: Couples advance and retire (8). Couples swing round each other (8). (16 bars).
(2nd) Quarter and Square Chain: Gents dance to opposite ladies (2), turn with right hands (2). Gents return to partners (2), turn with left hands (2). All do square chain as in Kerry Four Hand Reel (8). (16 bars).
(3rd) Circle Cross and Swing: All dance and circle round opposite back to back, gents dancing round from the outside (4). All dance right wheel (4). Couples swing round each other (8). (16 bars).
4. Finish: Lead and swing round. Lead round to right (8), swing round to left (8). (16 bars).
Poznámka: K.A. Lang byl ředitelem Národní školy irského tance v Dublinu a když Burchenal přijela do Irska v roce 1913, byl to Lang, kdo jí pomohl sestavit tance, které zahrnula do své knihy vydané v roce 1925 (zpožděno kvůli vypuknutí první světové války).
xxxxx
Fionnala Four Hand Reel (J. O’Keeffe and Art O’Brien, 1902)
1. Lead Round (16 bars)
2. Body:
(a) Sides: Partners sidestep by each other (4). Gents swing opposite ladies finishing (gents in opposite positions and ladies in original positions) (4). All repeat sidestep and swing partners and end in original positions (8). (16 bars).
(b) Dance Up Centre: Leading couple with hands together dance a seven to opposite couple’s positions while opposite couple with hands at sides dance to leading couple’s positions (2). All half turn (2). All dance back to original places in reverse order (4). (8 bars).
(c) Square Chain: As in Kerry Four Hand Reel (8 bars):
All advance and give right hands to opposites. Release hands and dance on to meet partners (gents dancing round to left, ladies to right) (2). Give partners left hands, release hands and dance on to meet opposites (2). Give opposites right hands, release hands and dance on to meet partners (2). Give partners left hands and turn to original positions (2). (8 bars).
3. Figures: As in other version (16 bars):
(1st) Advance, Retire and Swing: Couples advance and retire (8). Couples swing round each other (8). (16 bars).
(2nd) Quarter and Square Chain: Gents dance to opposite ladies (2), turn with right hands (2). Gents return to partners (2), turn with left hands (2). All do square chain as in Kerry Four Hand Reel (8). (16 bars).
(3rd) Circle Cross and Swing: All dance and circle round opposite back to back, gents dancing round from the outside (4). All dance right wheel (4). Couples swing round each other (8). (16 bars).
4. Finish: As in other version (16 bars):
Lead and swing round. Lead round to right (8), swing round to left (8). (16 bars).
xxxxx
„Fionnghuala Reel“ (Miss Quinn)
1. Lead Round: As in Four Hand Reel
2. Body:
(a) Exchange Partners: i.e. gents dance sevens behind partners, ladies passing in front, finish with two threes. Gents take right hand of opposite lady and swing around into gent’s place. (Top Gent is now with opposite Lady and opposite Gent with top Lady). Repeat and fall back into original position.
(b) Chain: As in Four Hand Reel:
Chain round and swing partners finishing in line with ladies back to back. (8 bars).
(c) Telescope: i.e. Top Gent take partners right hand in his right, dance sevens to ladies right passing between opposite couple who dance sevens to opposite Ladies right. When tops are finishing with two threes the Gent turns the Lady under his arm (as in Gates of Derry) on the first three and they fall apart on the second three. They then dance sevens back to place, with opposite couple passing between tops, opposite Gent turn Lady under arm, and fall back into original position.
3. First Figure: As first figure of Humours of Bandon:
(1st) Advance Through Centre: Leading couple advance between other couple (2). Turn inwards (2) leading gent right hand full turn with other lady, leading lady full turn left hand with other gent, leading couple meet behind opposite couple (4). Leading couple advance to original positions (2). Turn inwards (2) leading gent left hand full turn with other lady, leading lady right hand turn with other gent (4). (16 bars).
Second Figure: As second figure of Humours of Bandon:
Sidestep With Opposite Lady And Turn: Leading gent takes opposite lady’s hands (not crossed) and dances sidestep to his right, both turn towards their partners on the last two bars of sidestep (4). Leading gent left hand full turn with partner, opposite lady right hand full turn with partner (4). Leading gent and opposite lady take hands and sidestep back to places and face partners (4). Leading gent right hand full turn with partner, opposite lady left hand full turn with partner all ending in original positions (4). (16 bars)
xxxxx
Four Hand Reel (named Limerick Reel in Belfast)
1. Lead Round (16 bars)
2. Sides: As in Fionnala (b) (16 bars):
Partners sidestep by each other (4). Gents swing opposite ladies finishing (gents in opposite positions and ladies in original positions) (4). All repeat sidestep and swing partners and end in original positions (8). (16 bars).
3. Step (16 bars)
4. Right and Left Wheel (8 bars)
5. Chain: Chain round and swing partners finishing in line with ladies back to back. (8 bars).
6. Step (16 bars)
7. Figure Eight: All do Figure eight ending in opposite places with gents back to back. (8 bars).
8. Step (16 bars).
9. Figure Eight: Repeat 7 ending in original positions and facing partners. (8 bars).
10. Step (16 bars).
11. Dance Up Centre and Halfturn (8 bars).
12. Figure Eight and Hand Round Four: Figure eight (8), hand round four (4), swing (4). (16 Bars).
13. Other couple repeat 12. All swing into line in front (16 bars).
14. Advance and retire.
Readers note that this „4-hand“ like many other figure dances originally included solo type steps and we have somehow managed to eliminate this tradition.
xxxxx
Castlebridge Four Hand Reel (Enniscorthy Feis, 1902)
1. Opening (8 bars).
(a) Lead Round (8 bars).
(b) Change Sides: Couples advance and retire (4) and through to opposite places. Leading couple pass through on the inside (4). Repeat all to places, other couple passing through on inside (8). (16 Bars).
2. Body:
(a) Lead round (8 bars)
(b) Square: As in Kerry Four Hand Reel :
Partners sidestep by each other turning to face each other on second three (4). All sidestep across tom opposite side of dance, turning to face opposite person on second three (4). Partners sidestep by each other turning to face on second three (4). All sidestep across to original positions (4). (16 bars). (24 Bars).
3. Figures:
(1st) Advance Retire and Dance With Opposites: Couples advance and retire (4) and swing round each other (4). Gents take opposite ladies and couples swing round each other (4). Couples advance and retire (4). Gents take partners and couples swing round each other (4). (24 Bars).
(2nd) Hands Round Three and Swing: Leading lady passes between opposite couple, all turn inwards and form a ring and dance round to right and left and fall back to positions (8). Leading gent does same movements with opposite couple (8). Partners take hands and couples swing round each other (8). Opposite couple repeats same figure when body is danced. (24 bars).
(3rd) Right Hands In and Ladies‘ Chain: All dance right and left wheel (8). Ladies do chain as second figure of Morris Eight Hand Reel (16).:
Ladies advance , give right hands in centre, continue to opposite gentleman giving left hand (2), both turn in place (2), and ladies return to own partner (2 bars), both making full turn in place (2 bars). Both couples dance complete circle around each other (8 bars)
4. Finished:
(a) Bend the Ring: Twice and fall back (8).
(b) Chain Round (8). Swing Round (8).
(c) Lead Round (8). (32 bars)
Note: O’Keeffe and O’Brien had this to say of Wexford Four Hand Reel, i.e. the above dance. It was „danced by competitors from Gorey at the Wexford Feis held at Enniscorthy in October 1902. The dance contained a certain number of „steps“ and appeared to have the full compliment of parts. It was taught to the competitors by the father of one of them and had, to his knowledge, been danced for at least a couple of generations in that district“. Note again this figure dance originally contained „steps“ (see also previous dance) but the steps were eliminated in the version given above.
xxxxx
Four Hand Reel (J. Johnson, Belfast Feis, 1936)
1. Lead Round From Line: Couple on right dance round to right, couple on left dance round to left. Couple on right arch arms and couple on left pass under. All dance on to opposite positions in line (8). All repeat same movements, other couple forming the arch (8). (16 bars).
2. Sides: Outside lady and gent face and sidestep to front. Inside lady and gent sidestep by each other (4). All sidestep back to places (4). Repeat, outsides crossing and insides stepping to front (8). (16 bars).
3. Figure Eight: From line to square (8 bars).
4. Right and Left Wheel: As in Kerry Four Hand Reel (8 bars):
All give right hands across in centre and dance round (4). All give left hands in centre and dance round, releasing hands face partners in original positions (4). (8 bars).
5. Double and Single With Halfturn (8 bars)
6. Square Chain, Reversed Ring and Sidestep (16 bars).
7. Figure Eight, Ring to Right and Left (16 bars).
8. Square (16 bars).
9. Right and Left Wheel (16 bars).
Note: The Johnson school, Belfast, were very well known at the time (see Book 1 re Cormac O’Keeffe and Johnson and their objection to introduction of ballet shoes). Jimmy Johnson was taught by Sammy Cunningham (Belfast). Later Jimmy Johnson went to the USA and as far as I know Elly Mulligan then continued the class in this area.
xxxxx
Humours of Bandon (Four Hand Double Jig)
1. Lead Round (16 bars).
2. Body:
(a) Sides: Partners seven by each other and finish with rising step (4). Seven back to places finishing with rising step (4). (8 bars)
(b) Turn and Through: Partners right hands halfturn (2). Promenade to opposite places, gents dancing on outside (2). Partners right hands full turn, couples now in opposite places (4). (8 bars)
(c) Sides: As in (a). (8 bars).
(d) Turn and Pass Through: As in (b). (8 bars)
3. Figures:
(1st) Advance Through Centre: Leading couple advance between other couple (2). Turn inwards (2) leading gent right hand full turn with other lady, leading lady full turn left hand with other gent, leading couple meet behind opposite couple (4). Leading couple advance to original positions (2). Turn inwards (2) leading gent left hand full turn with other lady, leading lady right hand turn with other gent (4). (16 bars).
(2nd) Sidestep With Opposite Lady And Turn: Leading gent takes opposite lady’s hands (not crossed) and dances sidestep to his right, both turn towards their partners on the last two bars of sidestep (4). Leading gent left hand full turn with partner, opposite lady right hand full turn with partner (4). Leading gent and opposite lady take hands and sidestep back to places and face partners (4). Leading gent right hand full turn with partner, opposite lady left hand full turn with partner all ending in original position (4). (16 Bars)
(3rd) Ladies Chain: As in 2nd figure Morris 8 Hand Reel. (16 bars): Ladies advance , give right hands in centre, continue to opposite gentleman giving left hand (2), both turn in place (2), and ladies return to own partner (2 bars), both making full turn in place (2 bars). Both couples dance complete circle around each other (8 bars).
4. Finish: As in Kerry Four Hand Reel (16 bars): Lead and swing round. Lead round to right (8), swing round to left (8). (16 bars)
Body is danced before each couple dances the figure.
xxxxx
Plain or Square Four Hand Reel (Sammy Cunningham, Belfast)
1. Lead Round: As in Kerry Four Hand Reel (16 bars)
2. Body:
(a) Square: As in Kerry Four Hand Reel (16 bars):
Partners sidestep by each other turning to face each other on second three (4). All sidestep across tom opposite side of dance, turning to face opposite person on second three (4). Partners sidestep by each other turning to face on second three (4). All sidestep across to original positions (4). (16 bars).
(b) Four Sevens: As in Kerry Four Hand Reel (8 bars):
Partners dance seven by each other and back (4). All repeat same movement (4). (8 bars).
(c) Right and Left Wheel: As in Kerry Four Hand Reel:
All give right hands across in centre and dance round (4). All give left hands in centre and dance round, releasing hands face partners in original positions (4). (8 bars).
(d) Double and Single: As in Kerry Four Hand Reel but other couple does not repeat. (8 bars):
All sidestep simultaneously to opposite positions. Leading couple with right hands together dancing across on inside (4). All sidestep to original positions in same order (4). All repeat same movements with other couple dancing across on inside with right hands together (8). (16 bars).
(e) Square Chain: As in Kerry Four Hand Reel (8 bars):
All advance and give right hands to opposites. Release hands and dance on to meet partners (gents dancing round to left, ladies to right) (2). Give partners left hands, release hands and dance on to meet opposites (2). Give opposites right hands, release hands and dance on to meet partners (2). Give partners left hands and turn to original positions (2). (8 bars).
3. Figures: (1st) Advance and retire (4), swing (4), figure eight (8), hands round three and four (8), arch arms (8). (32 bars)
Body is repeated before other couple dances 1st Figure.
xxxxx
Cor Ceatrar (Com na Rinnce 1934)
1. Lead Round (16 bars).
2. Body:
(a) Square: As in Kerry Four Hand Reel (16 bars):
Partners sidestep by each other turning to face each other on second three (4). All sidestep across tom opposite side of dance, turning to face opposite person on second three (4). Partners sidestep by each other turning to face on second three (4). All sidestep across to original positions (4). (16)
(b) Four Sevens: As in Kerry Four Hand Reel (8 bars):
Partners dance seven by each other and back (4). All repeat same movement (4). (8 bars).
(c) Right and Left Wheel: As in Kerry Four Hand Reel (8 bars):
All give right hands across in centre and dance round (4). All give left hands in centre and dance round, releasing hands face partners in original positions (4). (8 bars).
(d) Double and Single: As in Kerry Four Hand Reel (8 bars):
All sidestep simultaneously to opposite positions. Leading couple with right hands together dancing across on inside (4). All sidestep to original positions in same order (4). All repeat same movements with other couple dancing across on inside with right hands together (8).
(e) Square Chain: As in Kerry Four Hand Reel (8 bars):
All advance and give right hands to opposites. Release hands and dance on to meet partners (gents dancing round to left, ladies to right) (2). Give partners left hands, release hands and dance on to meet opposites (2). Give opposites right hands, release hands and dance on to meet partners (2). Give partners left hands and turn to original positions (2). (8 bars).
3. Figures:
(1st) Advance and Retire: Leading couple advance and retire twice,
(2nd) Figure Eight: leading lady dances a complete figure eight by dancing between opposite couple, looping round lady and gent, her partner dancing sidestep to right and left at the end of these movements.
(3rd) Rings and Arches: opposite lady dances forward to form a ring of three with leading couple (8).
(4th) Swing Round: The trio dances dances sidestep to right and left, opposite gent at the same time dancing sidestep to right and left. On last two bars of left sidestep leading couple arches arms, passes opposite lady under to leading gent’s original position and takes opposite gent in ring of three (8). The trio dances sidestep to right and left, opposite lady dancing sidestep to right and left at the same time. On last two bars of sidestep (left) leading couple arches arms and passes opposite gent under to his partner (8). Couples swing round to original positions (8). (40 bars).
Body is danced before opposite couple dances 1st figure.
(Second Figure)
Ladies Chain: As in 2nd figure of Morris Eight Hand Reel (16 bars):
Ladies advance , give right hands in centre, continue to opposite gentleman giving left hand (2), both turn in place (2), and ladies return to own partner (2 bars), both making full turn in place (2 bars). Both couples dance complete circle around each other (8 bars). (16 bars)
4. Finish: Lead Around and Swing Round: As in Kerry Four Hand Reel (16 bars):
Lead and swing round. Lead round to right (8), swing round to left (8). (16 bars)
xxxxx
Kerry Four Hand Reel
1. Lead Round (16 bars)
2. Body:
(a) Square: Partners sidestep by each other turning to face each other on second three (4). All sidestep across to opposite side of dance, turning to face opposite person on second three (4). Partners sidestep by each other turning to face on second three (4). All sidestep across to original positions (4). (16 bars).
(b) Four Sevens: Partners dance seven by each other and back (4). All repeat same movement (4). (8 bars).
(c) Right and Left Wheel: All give right hands across in centre and dance round (4). All give left hands in centre and dance round, releasing hands face partners in original positions (4). (8 bars).
(d) Double and Single: All sidestep simultaneously to opposite positions. Leading couple with right hands together dancing across on inside (4). All sidestep to original positions in same order (4). All repeat same movements with other couple dancing across on inside with right hands together (8). (16 bars).
(e) Square Chain: All advance and give right hands to opposites. Release hands and dance on to meet partners (gents dancing round to left, ladies to right) (2). Give partners left hands, release hands and dance on to meet opposites (2). Give opposites right hands, release hands and dance on to meet partners (2). Give partners left hands and turn to original positions (2). (8 bars).
3. Figures:
(1st) Advance Retire and Figure Eight: Leading couple advance and retire once (4). Swing (4). Lady dances a complete figure eight by dancing between opposite couple, looping round opposite lady and then round opposite gent to her place, her partner dances the same figure round opposie gent and lady at the same time. Leading couple dance to original positions (8). (16 bars).
(2nd) Hands Round Three and Four: Leading couple with arched arms advance (1), opposite lady dances under and faces about (1), leading gent pulls partner to left (1) and forms a ring of three with opposite lady (1). The trio dances promenade steps round to left (4). Other gent joins ring and all dance round to left (4). Couples then swing to originals positions (4). (16 bars).
(3rd) Gents Chain: As in Figure 16 Hand Reel without the swing round. (16 bars)
4. Finish: Lead and swing round. Lead round to right (8), swing round to left (8). (16 bars)
Note: the Finish of the „Kerry Four Hand Reel“ was a lead for 8 bars and a „swing“ for 8 bars – a common end to 4 hand dances but now we have eliminated the „swing“, but Burchenal in her 4 Hand Reel (i.e. the one that is now published in The Commission Rinnce Foirnen book) likewise ends with lead and back 16 bars and then both couples swing round each other.
xxxxx
Pokračování příště
Ilustrační foto: Rinceoirí 10.3.1999 na Staroměstském náměstí v Praze.
Václav Bernard
