The “All About Irish” School of Dance Will offer several workshops including:
1. What is Irish Dancing and a brief overview?
Irish dancing is a distinctive style of dancing that originated in Ireland over many centuries. Dance Masters are
credited for starting the most modern form of Irish Dance back in 1750. Who were the Dance Masters? They were
men who traveled from town to town performing 6 weeks at a time in the same place and staying with a
hospitable family during their stay.
It is also believed that it may have been the Dance Masters who were responsible for the lack of arm movement in
Irish solo dancing. Dance Masters often challenged each other to competitions at fairs, which would end when
one fell to the ground in fatigue. They would also compete for the right to teach in a particular village, with the
Master who new the most steps winning.
There are several Irish Dance organizations from Ireland that are now a part of the United States: An Coimisiun le
Rinci Gaelacha referred as CLRG, Cumann Rince Naisiunta referred as CRN, Teagascóir Coimisiúin le Rinci
Gaelacha referred to as TCRG and Cumann Rince Dea Mheasa, just to name a few. They each have contributed a
unique style to Irish step dancing.
A student will first learn the basic dance steps which may consist of 1,2,3’s, leap 2,3’s and the side step. After that
they learn their first “reel” dance. Below is information about the different types of dances they learn along with a
brief history and the different timings for each type of dance.
Reel: The reel originated around 1750 in Scotland and the Irish dance masters brought it to full development. The
music is 4/4 time and it is danced at a relatively fast tempo (ONE-two-three-four). Both men and women dance the
reel.
Jigs: There are references to the jig in ancient Ireland. A number of variations of the jig are performed including
the single (or soft), double, treble, and slip jig. The music is 6/8 time (the emphasis on beats in a jig is: ONE-two-
three four-five-six). Slip jigs are in 9/8 time (ONE-two-three four-five-six seven-eight-nine). Dancers perform single
or soft jigs in soft shoes. The treble jig has a slower tempo, but dancers triple beats in hard shoes. The slip jig
(soft shoes) is the most graceful of Irish dances and features light hopping, sliding, skipping and pointing.
Hornpipe: The hornpipe began around 1760, evolving from English stage acts. The hornpipe is in 4/4 time,
reminiscent of a slow reel with accents on the first and third beat (ONE-and-a two-and-a three-and-a four-and-a).
Traditional Set Dances: Another group of sets, including St. Patrick's Day, The Blackbird, Garden of Daisies, and
Job of Journeywork, are considered to be traditional dances. These are all very old tunes and were part of early
Irish dance history. The title The Blackbird is actually "code" for Bonnie Prince Charles who tried to overthrow the
English with a group of Scotsmen. Garden of Daisies should be the Garden of Deise, an area in County Waterford.
They traditionally perform this group of dances at a fast tempo without high jumps or lifts. A notable feature is the
frequent use of a rocking motion with the ankles.
2. Demonstration of The Walls of Limerick plus others, a Ceili Dance.
Ceili Dances: Ceili dances were derived from group set dances and French quadrilles, but were set to Irish music.
They appear to have evolved with the help of the Irish dance masters, many from County Kerry. Nationalism,
combined with the Handbook of Irish Dances published in 1902, led to standardization of ceili dances. Recording
the descriptions of these dances occurred through the 1930s. Luckily, many ceili dances were recorded before
being lost in history.
A "ceili" is a gathering for music and dance. The Gaelic League sponsored the first Irish ceili in 1897. They
borrowed the idea from the Scots and a precedent was set that a piper opened the ceili. Because the ceili dance
revival was not widespread at that time, the dances at the first Irish ceili consisted of group set dances and
French quadrilles!
An example of a Ceili dance is The Walls of Limerick, which begins with 2 couples facing each. This is a
progressive dance, which means that after each section you will dance with a new couple until you come down to
the end of the line. If the music is still continuing you can then turn around and go back in the direction you came
from. It is a way to meet new people.
It can be demonstrated by those that are already familiar with the dance and then actually teach it to those who
are not familiar with it. This is a very easy dance to teach and learn.
3. More advanced workshop for Irish dancers.
For those who are interested in choreographing their own dances or would like to improve their technique
abilities, Mrs. Rodgers, who has a knack for music and drama is available to assist you in those areas. Please
plan to bring the music you would like to choreograph a dance to or if you simply need assistance on technique,
then supply a list of the areas you are struggling in.
Diana Rodgers, the Owner/Director of the “All About Irish” School of dance has 10 years experience in Irish
Dancing. Her dance background also includes Spanish Folkloric dancing. Diana is an associate member of
Cumann Rince Naisiunta (pronounced koo-mun, rin-ka, now-shun-tuh) or referred to as “CRN”, the National Dance
Association of Ireland and the only CRN Irish Dance school in Oklahoma. Diana’s background also includes
teaching Drama for many years and she enjoys choreographing dances.
Diana would like to donate “in kind” any payment to the Oklahoma Celtic Heritage Festival.
1. What is Irish Dancing and a brief overview?
Irish dancing is a distinctive style of dancing that originated in Ireland over many centuries. Dance Masters are
credited for starting the most modern form of Irish Dance back in 1750. Who were the Dance Masters? They were
men who traveled from town to town performing 6 weeks at a time in the same place and staying with a
hospitable family during their stay.
It is also believed that it may have been the Dance Masters who were responsible for the lack of arm movement in
Irish solo dancing. Dance Masters often challenged each other to competitions at fairs, which would end when
one fell to the ground in fatigue. They would also compete for the right to teach in a particular village, with the
Master who new the most steps winning.
There are several Irish Dance organizations from Ireland that are now a part of the United States: An Coimisiun le
Rinci Gaelacha referred as CLRG, Cumann Rince Naisiunta referred as CRN, Teagascóir Coimisiúin le Rinci
Gaelacha referred to as TCRG and Cumann Rince Dea Mheasa, just to name a few. They each have contributed a
unique style to Irish step dancing.
A student will first learn the basic dance steps which may consist of 1,2,3’s, leap 2,3’s and the side step. After that
they learn their first “reel” dance. Below is information about the different types of dances they learn along with a
brief history and the different timings for each type of dance.
Reel: The reel originated around 1750 in Scotland and the Irish dance masters brought it to full development. The
music is 4/4 time and it is danced at a relatively fast tempo (ONE-two-three-four). Both men and women dance the
reel.
Jigs: There are references to the jig in ancient Ireland. A number of variations of the jig are performed including
the single (or soft), double, treble, and slip jig. The music is 6/8 time (the emphasis on beats in a jig is: ONE-two-
three four-five-six). Slip jigs are in 9/8 time (ONE-two-three four-five-six seven-eight-nine). Dancers perform single
or soft jigs in soft shoes. The treble jig has a slower tempo, but dancers triple beats in hard shoes. The slip jig
(soft shoes) is the most graceful of Irish dances and features light hopping, sliding, skipping and pointing.
Hornpipe: The hornpipe began around 1760, evolving from English stage acts. The hornpipe is in 4/4 time,
reminiscent of a slow reel with accents on the first and third beat (ONE-and-a two-and-a three-and-a four-and-a).
Traditional Set Dances: Another group of sets, including St. Patrick's Day, The Blackbird, Garden of Daisies, and
Job of Journeywork, are considered to be traditional dances. These are all very old tunes and were part of early
Irish dance history. The title The Blackbird is actually "code" for Bonnie Prince Charles who tried to overthrow the
English with a group of Scotsmen. Garden of Daisies should be the Garden of Deise, an area in County Waterford.
They traditionally perform this group of dances at a fast tempo without high jumps or lifts. A notable feature is the
frequent use of a rocking motion with the ankles.
2. Demonstration of The Walls of Limerick plus others, a Ceili Dance.
Ceili Dances: Ceili dances were derived from group set dances and French quadrilles, but were set to Irish music.
They appear to have evolved with the help of the Irish dance masters, many from County Kerry. Nationalism,
combined with the Handbook of Irish Dances published in 1902, led to standardization of ceili dances. Recording
the descriptions of these dances occurred through the 1930s. Luckily, many ceili dances were recorded before
being lost in history.
A "ceili" is a gathering for music and dance. The Gaelic League sponsored the first Irish ceili in 1897. They
borrowed the idea from the Scots and a precedent was set that a piper opened the ceili. Because the ceili dance
revival was not widespread at that time, the dances at the first Irish ceili consisted of group set dances and
French quadrilles!
An example of a Ceili dance is The Walls of Limerick, which begins with 2 couples facing each. This is a
progressive dance, which means that after each section you will dance with a new couple until you come down to
the end of the line. If the music is still continuing you can then turn around and go back in the direction you came
from. It is a way to meet new people.
It can be demonstrated by those that are already familiar with the dance and then actually teach it to those who
are not familiar with it. This is a very easy dance to teach and learn.
3. More advanced workshop for Irish dancers.
For those who are interested in choreographing their own dances or would like to improve their technique
abilities, Mrs. Rodgers, who has a knack for music and drama is available to assist you in those areas. Please
plan to bring the music you would like to choreograph a dance to or if you simply need assistance on technique,
then supply a list of the areas you are struggling in.
Diana Rodgers, the Owner/Director of the “All About Irish” School of dance has 10 years experience in Irish
Dancing. Her dance background also includes Spanish Folkloric dancing. Diana is an associate member of
Cumann Rince Naisiunta (pronounced koo-mun, rin-ka, now-shun-tuh) or referred to as “CRN”, the National Dance
Association of Ireland and the only CRN Irish Dance school in Oklahoma. Diana’s background also includes
teaching Drama for many years and she enjoys choreographing dances.
Diana would like to donate “in kind” any payment to the Oklahoma Celtic Heritage Festival.
Presenter: Ken Fleming-www.oflahertyretreat.org/Instructors/kenfleming.html
Standard Celtic Guitar
In this class, students will learn to apply and expand their guitar technique using standard tuning to accompany
Celtic traditional music. The class will explore a variety of types of tunes, dynamics through syncopation and
emphasis, chord substitutions and common progressions. Students should be comfortable with basic chords and
strumming.
Irish Tenor Banjo/Mandolin
This class will explore the use of the tenor banjo and mandolin in traditional Irish music. Particular emphasis will
be placed upon proper left and right-hand techniques, ornamentation, variation, and translating concepts from
other traditional instruments such as pipes and fiddle to the mandolin. Rhythms and chording will also be covered.
What Makes It Irish Music?
Have you ever wondered how the great Irish players make the music sound so "Irish?" How do they get that lilt to
their melodies, that rhythmic something that enhances jigs and reels so well? What can American players learn to
help them get close to playing Irish music as traditionally played in Ireland? We’ll explore some answers to the
questions.
Learning Celtic Music by Ear
This class is offered for players of all instruments. The class will explore ear training and memorization tools to
enhance the student’s ability to learn and retain tunes without the aid of written music or tablature. It also will help
students learn what key to play in for a given melody.
Presenter: Tammy Willcox-Harp Ventures
Harp WorkShop
Presentation of combination of two harp workshops entitled “Fundamentals of Beginning Harp” and “How to Play
the Harp in an Irish Session”. Pre-printed instructional handouts will be provided for participants to carry home as
well as a copyrighted hand-out written by Tammy Willcox entitled “Fun and Interesting Facts about the Harp!”
Presenter: Steve Vanlandingham
Irish Bouzouki
Class will explore the use of the bouzouki in traditional Irish music. Different tunings and types of instruments will
be covered. Modal chords, rhythms and accompaniment patterns will be emphasized.
Students will apply these chords and patterns on the main types of irish tunes: jigs, reels, polkas, etc.
Presenter: Miranda Arana
Irish Flute and Whistle
Class will explore the use of the flute and penny whistle in traditional Irish music: history, basic fingering and
technique will be covered. Students will learn two beginner tunes. If time permits students will learn how to add
traditional Irish ornaments to popular Irish reels, jigs, and polkas.
Presenters: Miranda Arana, Steve Vanlandingham, Kathy Dagg and Shanda McDonald
The Zen of Celtic Music
Interpreting and applying Irish moods and modes to a variety of instruments and
styles. Listening to spaces between the notes and finding musical sanctuary. Bring your inner instrument and
participate in a musical therapy session with the Merry Sisters and Arabesque!
HERALDRY
This workshop has two parts. First an on site exhibit of both horse and knight in costume with the Graham family’s
coat of arms. A horse, draped in a heraldic blanket will give the workshop attendees an idea of how, if the knight’s
back is to his companion at arms, at least they can see the devices on his horse blanket. The workshop then will
adjourn to the interior of the second building, where a tri-fold will exhibit different Scottish, English and Irish
families’ coats of arms. The attendees will be provided with workbooks with which to research the coat of arms
of the chief of their family. There will be sheets with various devices, which they can cut apart in order to assemble
a likeness of the chief’s coat of arms.
This workshop will have an offshoot that will involve the children’s portion of the festival. They also will be invited to
make their own coat of arms showing the things they like and even using a device from their Chief’s coat of arms.
The adults will be given sheets with the most familiar heraldic terms, including the names of the heraldic colors
which are in French! They will be shown how a coat of arms comes about in the first place, that it contains devices
which pertain to the family for which it is intended.
WORKSHOP FOR ADULTS
WERE YOUR CAUCASIAN ANCESTORS BROUGHT TO THE NEW WORLD IN BONDAGE?-THE JACOBITE REBELLION
This workshop will begin in a lecture room, in which the attendees while be given a short history of the three
Jacobite Rebellions in Scotland from 1689-1745. As a result of this rebellion, many sympathizers of the Stewart
family, the true heirs of the throne of Great Britain, were prosecuted for treason, either executed, imprisoned,
or like the vast majority, shipped to the King’s colonies around the globe. Since many of these transported persons
came to North America, eventually were set free to establish a life here, they are the ancestors of many Citizens in
North America, most especially the United States.
Because the government of the time, kept impeccable records, we know the names of these persons, and can
research those whose surnames might be in our family tree. After the preliminary lecture, the group will adjourn to
the Genealogy table where records for research will be available to them. The moderator will assist them in their
research. Paper and writing instruments will be provided for them to copy any records which might pertain to their
ancestor or family.
This can be not only a great educational tool, but a profound genealogical tool also. With this information the
attendees can go to the nearest genealogical library and research ships passenger lists, also various series of
books which contain exhaustive list of “transported” persons. This workshop has been very well received in the
past by workshop attendees because it gives them a springboard form which to start their genealogical research
WORKSHOP FOR CHILDREN
VIKINGS
Since one of the highlights of the Festival in 2008 will be an Encampment of Viking re-enactors, it was conceived
that perhaps an educational hands-on program should be furnished to the children attending the Festival.
There will be coloring pages of Vikings that they can color. Also a map of the then-known world, with small cut out
ships, in which children can trace the voyages of the Vikings…ending up, of course, in North America.
Another interesting facet of this workshop for children is a page of “Runes”, Viking writing which the children can
use to copy off their names or messages in the Runes. As an added event to the workshop, children will be taken
over the small museum in the history section and allowed to hold the Viking artifacts on display there.
The Viking encampment itself will have many educational aspects which will enlighten the community as to that
culture 1000 years ago. Also it will pertain to the lives of our ancestors who were Vikings---most especially those
who came with William the Conquerer to Great Britain in 1066. Records of these families will be provided on the
Genealogy Table for the attendees to peruse. Help will be provided by the History Chairman who will be providing
the books.
EXTENSION OF THE HERALDRY WORKSHOP
TARTAN – THE POOR MAN’S “COAT OF ARMS”
This workshop will be for both children and adults, but conducted separately.
The adults will be provided books in which to look up which tartan belongs to their particular family. Also books
with colored photos of the tartan plaids will be provided. Also below those photos will be “weaver’s codes”
should any of the attendees have a hobby of weaving material. This is generally one of the most popular parts of a
workshop. Everyone loves plaid, and more if it belongs to one’s family. Several swatches of plaid will be
provided the attendees so that they can see the “sett” (design) in person.
For the children's part of this workshop, they will be provided with a cut-out Scottie dog, and be able to choose
from a chart of “tartan” collars with which to adorn their dog. First, they will have to look up which tartan belongs
to their family. In some instances, families will not have their own plaid, but wear another families with whom the
original family in Scotland centuries ago either married into, or was affiliated with. This activity will use books for
research, and apply it to a craft that they are working on. This Scottie dog can then be used as a possible
Christmas decoration or as a show ‘n tell in the classrooms
Also provided will be various sheep's wools used to make tartan/plaid. The children and adults can examine these
samples of wool first hand. They will have an explanation of the process through which wool goes through before
being finally woven into a tartan/plaid.
Workshops
The Oklahoma Celtic Heritage Association is pleased to announce a vast array of workshops that will be made
available for the 2008 Oklahoma Celtic Music and Heritage Festival. Listed below are the proposed workshops and
information pertaining to said workshops. Please be sure to check in often for updated information concerning
registration and additions to the workshop line-up. If you are interested in hosting or participating in a workshop
please contact Roger and Carol Graham at celticgraham@sbcglobal.net.
available for the 2008 Oklahoma Celtic Music and Heritage Festival. Listed below are the proposed workshops and
information pertaining to said workshops. Please be sure to check in often for updated information concerning
registration and additions to the workshop line-up. If you are interested in hosting or participating in a workshop
please contact Roger and Carol Graham at celticgraham@sbcglobal.net.
