Dancer to Dancer

Fifteen years goes by pretty fast. At the age of six, I became involved in Irish dancing with lots of starts and stops in the lessons. A true and steady commitment for me didn’t really start until my 11th year. Until then, I’d sit in a small blue chair in the back of my twin sister’s dancing class, pretending to read a book and declaring my disdain for Irish dancing to everyone asking why I wasn’t up there with her.
Secretly, I wished I was. It was so much easier to hide behind a Goosebumps book (remember those?) then to get out on the floor and make a mistake and listen to the good natured yelling. I still have that nagging sense that I have to do everything perfectly the first time but that’s another issue.
When I finally got the courage five years later, there were three little girls who helped me out. They taught me steps in their spare time, they hung out with me outside of class, and most importantly, they never let me quit no matter how hard I tried – they were my twin Meghan and my friends Noreen Hughes and Brianna Kostecka.  We used to call ourselves “the swans” after our school logo derived from “The Children of Lir” but at that age, we were more like little chicks.
At 21 years old, I think we finally deserve our original nickname and we’ve watched each other grow into beautiful, confident women. This May, Brianna will graduate from Loyola College, Meghan from the University of Scranton, Noreen from Catholic University and I will graduate from the George Washington University. Our dear friends from other schools all over our region, North America and the world, will do so too and for most of us, this means we’ve outgrown our competitive dancing careers. Thankfully, none of us have outgrown our friendship.
Sadly, the process has started, now that we are all seniors in college, it is time to think about life after dancing. Brianna, Noreen and Meghan are still going strong, with one year of All Ireland’s, World’s and National’s left in the agenda. But with graduation looming, thoughts are naturally turning to the next phase.
I was the first one to go, and even though I was so adamant about quitting I secretly always thought I would start up again. I did join our World Medaling Ceili team (with Meghan, Noreen and Brianna) in 2005, and performed at this year’s school Feis but that was about it.
Now that Meghan, Brianna and Noreen are thinking about careers, and what happens after college, I realized this dream of competing again is never going to happen. That is one of my biggest regrets. Sure, I’ll still practice now and then and maybe even teach one day, but I’ll never be out on that competitive stage again.

Profile: Irish Dance and Peter Smith

In his South Amboy, N.J. studio, Smith’s students dance – and dance and dance, round after round after round.  They practice their hard shoe steps three students at a time, the entire class rotating, while Smith sits at the head of the hall.  There are no warm-ups, no stretches, no cool-downs.  It’s all dance, all the time.
From his humble demeanor to his class structure, Smith keeps it simple.  Don’t be misled.  His simplistic thinking has proven innovative in the world of Irish dance.  Where he sees a need, he meets it – and that is precisely how Smith became one of the foremost leaders of Irish dance in North America and beyond.
Meet Peter Smith: current president of An Coimisiún le Rincí Gaelacha, past president of the Irish Dance Teachers Association of North America (I.D.T.A.N.A.), founder of the Southern Region, director of the Peter Smith School of Irish Dance, adjudicator, mentor…the list goes on.

Unification
When asked how many students are in his school, Smith just smiled and said he doesn’t know.  Smith doesn’t care about messy details like numbers because that’s not what is important – he cares about Irish dance.  His story takes off in 1959 when he passed his TCRG exam and began teaching on the east coast.  It was then that Smith saw a need to bring North America together, to unite Irish dance teachers not only from his region, but from the whole country.  A lofty goal; the I.D.T.A.N.A. was created a few short years later, established to strengthen leadership and standardize feiseanna.  There were less than ten teachers at that time; astonishingly, that number is now closer to 700, said Smith.
“All the regions support each other and I think Irish dancing has supported itself in North America,” said Smith, one of the leading experts on the governance of Irish dance.
The current president of An Coimisiún, Smith said the body is in place to ensure everything is run correctly and so no one can take off on their own.  Any changes in Irish dance must be approved by An Coimisiún; in other words, by everyone.

Change
With the immense popularity brought on by Riverdance and Lord of the Dance, competitive Irish dance experienced a major shift marked by a whole new level of athleticism.  Smith witnessed firsthand the progression of Irish dance into this new degree of difficulty, from the intricacy of steps to the modernity of costumes.  Though he admits that Irish dance has changed, he said these changes have only improved the steps, bringing the sport to a whole new peak.
“Each of the dances has kept its purity from the beginning of time.  A reel is a reel, a slip jig is a slip jig.  They are all beautiful in their own way.”
He prefers dancers to look more natural – “I disapprove of covering half the face in glitter” – and said his dancers tend to use make up very moderately.  He remembers the agony of hair curling for his girls, so he understands the ease and comfort that comes with wearing wigs.  As for costumes, Smith prefers traditional, to say the least.
“The Celtic design has gone away, but with the help of God we’ll bring it back to have Irish costumes once more,” Smith said.

Legacy
Smith’s students describe him as kind yet strict, motivating yet demanding.  His seasoned eye means little gets past him and as an adjudicator, he focuses on placement, carriage and posture.  One of Smith’s defining characteristics is his ability to pass on the same deep appreciation and respect for the art form to his students.  Jimmy Friel, one of Smith’s first pupils, began Irish dance at the age of ten.  He met his future wife in Smith’s class at age thirteen, their son learned Irish dance from Smith, and today Friel teaches alongside Smith.
“He loves his children,” said Friel.  “He can still dance with them.  I couldn’t even begin… his students who have gone on to become teachers and adjudicators – it’s a great testament to him, that he instilled love in that many people.”
Open Championship dancer James Hester, 21, began Irish dance at the relatively late age of sixteen; however, once he started, that was it.
“He [Smith] wants all his students to take the teachers exam and start schools of our own,” said Hester, of Newark, N.J. “I definitely want to be a teacher in the very near future…I would like to teach with Peter.”
Fourteen-year-old Maura McFadden has been dancing with Smith for nine years, during which she has reached the Open Championship level and most recently, qualified for the World Championships in 2007.
“He’s like the founder of dancing in America,” said McFadden.  “It’s a real honor to dance for him.”
For his leadership, his legacy, and his lifelong devotion to Irish dance, there is only one thing left to say:
Thank-You, Mr. Smith.

How do you practice your dancing?

Just about every day in Irish dance classes across the world, students are told by their conscientious teachers to practice before the next class. Week after week, these reminders are announced, the students nod dutifully to show that they will indeed practice, and the class ends.
Now, two questions occur to me. First, are dancers really practicing? Second, and perhaps more important, what are the dancers practicing? Let’s just assume that the answer to the first question is “Yes”, even though there may be some doubt! I would rather focus, for the moment, on the second question.
When I was a beginning dancer in Boston, I made sure that I practiced each new step so that could perform it at the next class. At the same time, however, I also made sure to run through my older steps, so that I did not take the chance of forgetting them. I was fortunate that my dance teacher, Mary Costello Madden, TCRG, made sure that in every class we danced a variety of steps, not just the new material taught in the last few classes. She had the right expectation that her dancers must be able to perform a full range of steps in each of the dances (reel, jig, etc.). This was a big help whenever we danced out; we could quickly put together dance routines where groups of dancers could easily find steps they could dance comfortably without hesitation.
It is all too easy to focus only on new steps. They do need attention. They do need refinement and adjustment. They do need enough guided practice to become second nature to dancers. All of that takes time and attention. The risk we all run, however, is that dancers will inaccurately assume that our focus on new material means that they don’t need to practice (or perhaps even remember) the older steps. It is the responsibility of teachers and dancers to devote a suitable amount of practice time to a variety of steps, new and old.
Each step or sequence of materials has specific challenges that each dancer needs to meet to execute it correctly and effectively. Practicing only the newest material means a dancer is working on the specific challenges of that material, but he or she might be losing the edge necessary to execute some other challenging material in the older step, which could be detrimental to the dancer’s overall development. This is especially important at the grades level (beginner, advanced beginner, novice, prizewinner).
Dancers should have a full repertoire of steps and material that they practice and perform. They should not be limited to knowing and being to perform well only a few steps in a given dance; the choice of which steps to perform at each feis should be based upon which steps currently display the student’s overall dance ability, not the fact that the dancer only knows two steps that he/she can perform right now. I work with my dancers regularly to make sure that they can perform a whole range of steps in each dance, at high levels of accuracy and strength, and then we decide for each dancer which pair of steps is best at showing off at the next feis his or her abilities and development as a dancer. As a teacher, I know that a dancer may not be ready to use a new step in competition, so having other steps “up to speed” helps us to make informed decisions for feiseanna, while still working on the new material until the dancer has it ready to go. Once older steps are left untouched for a period of time, it becomes harder to remember them. In addition, it certainly becomes more likely that a dancer will be able, at best, to get through the steps but not be able to perform them with confidence and commitment, partially because the muscle memory necessary to execute the steps will have weakened or disappeared.
Regular practice and review of a full range of steps in every dance is a good idea and one that will have long-term benefit for dancers. Make this part of your weekly practice sessions at home, and ask your teacher about including a few minutes in every class to review and practice older steps along with new materials. As I see it, this would be a practice that makes real sense.

By Russell J. Beaton adcrg

Is there a Future in Irish dance after the competition

There are growing opportunities for dancers. Catapulted by the success of Irish dancing shows, more and more people are considering educations in theater and careers associated with Irish dancing.  There is a lot of money to be made in this business and if you love something, you will be good at it – so what better way to support yourself than to do it with something that you thoroughly love?
A dancer only has to be a mere 16 years old to get paid in some dancing shows, and many of them get paid very well.  It is not uncommon to hear about a champion Irish dancer taking time off from high school or college to star in a 4 month long tour. Now, education is certainly important and before you parents out there throw out this idea completely, think about it this way – dancing in a show can certainly broaden the dancer and round off the book learning.  Irish dancers are usually extremely dedicated and motivated people.  They practice hard and know what it takes to be successful.  Sometimes, it seems like Irish dancers have a greater work ethic than most adults!  Many are straight “A” students.  By participating in shows, dancers further their hard working skills, and the best part is they get paid!
Students take time off because the pressure of school is just too much.  Often they end up sitting around and doing nothing for a year or even more, and never go back to finish their education.  A more productive outlet for Irish dancers is to participate in a show.  Being able to Irish dance is especially useful for students right out of college. Shows allow dancers to break up the pressure and make a little cash while doing something they love with their dancing soul mates.
Once you turn 21, you are eligible to test for a teacher’s license.  If you pass, you can open up your own school or assistant teach with a school already established.  There are hundreds of dancing schools in North America, the UK and Ireland and now throughout Europe and even Asia.  Teachers can also become adjudicators once they pass a test at age 30 and this also generates a considerable income, not to mention the travel, camaraderie and absolute craic!  All in all, dancing teachers and judges have the opportunity to subsidize in a profession that they absolutely love.
Don’t like to dance? Music is one of the major supporting elements to world of Irish Dance. Without the music and the talented musicians, Irish Dancing would not exist.  Think about it – virtually every weekend, there is some sort of Irish dancing competition or festival and with these events comes the need for musicians to play the dances.  However, they cannot be the standard music school maestros; they must be trained to play every set dance known in the Irish dancing world on the spot when asked.  This takes many years of practice and good musicians are in need.
$3000 dancing dresses – need I say more?  Depending on how quickly the dress maker can make them, this is probably one of the most lucrative businesses in the Irish dancing world.  Champion dancers usually spend thousands of dollars on dresses each year.  Since dancing dresses are an art form, the dress maker is looked at as an artist.  Dresses by Vera Wang are held in similar regard as are Gavin Dougherty creations.  Since dress-making is such an intricate and complicated process, there has always been a lack of dressmakers – especially in the US.
So if you’re not a dancer, musician, or seamstresses – what can you do to stay connected to the Irish Dancing world you love and make a living?  Ask yourself, “what do most dancers and parents do when they are waiting in between competitions?”  Why they go shopping at the vendors of course!  It is rare to see a feis these days without a hallway of tables selling everything from Irish memorabilia to hand crafted jewelry. When a family shows up to a feis and forgets their socks or even their shoes, the only thing they can do is spend $150 at the vendors buying new ones.
Irish dancing is an expensive hobby, so why not turn a passion into dollars to either supplement a hobby or to continue doing what you love? It may be the difference between simply “working to live” and “living to work.”

By Erin Reilly

I Always Do My Best-the performers mantra

In life and certainly in performance there is always a standard that we work towards. Being clear about this is useful because you know that you wish to achieve something that will represent you at your best. But what does it mean to say ‘your best’. Firstly, it means you knowing that you have worked for improvements from you last performance, Secondly, it suggests that you can be clear about what more you can achieve.
Doing your best is also linked to how far you have developed. For example if I learn to play two cords on the guitar then I may be excellent at these. This should  also remind me of how much more there is to learn if I am to become a highly competent musician. In the same way in Irish dancing if you learn basic steps you can perform your best at that level. However, we should all be reaching for the best at the highest level attainable. This is what gives us goals or objectives or results to aim for. Therefore if we continue to learn and develop “our best” will also be changing all of the time. It is from these changes that we get the satisfaction of high achievement.
If you look back at yourself as a dancer over the last twelve months can you trace the improvements you have made? Are there dance elements, technique or steps, you can perform now that you did not have competence in before?.
When we are committed to doing our best this should always mean that we are on a road of continuous improvement. In every facet of our life this should be an aim of ours on a daily basis.
Sometimes in competition a dancer will say to the teacher, that was not my best today. What you are saying is that you know you can perform better than you did in that experience. One of the influences of course that supports doing “my best” is how you think about performance. It is necessary to have self-belief; confidence; courage; determination, and concentration to really be at your best. How often do you meet a student who has sat an examination and says, “ I did not perform at my best in the examination because I lost my concentration or that I was nervous”. Your determination to not allow yourself to succumb to nervous thoughts or lapses of concentration will always help. Your mind is well able to deal with positive thoughts so make sure you have plenty of them in every performance.
Development does not happen in a day. It takes time and effort. This will only be applied however when you think positively about being better or showing improvement. How often do we hear people, and especially dancers say, “ I am doing my best and cannot do any better” What the dancer should be saying is that “ I want to do better and will do what it necessary to achieve that improvement” You are no different to anyone else when it comes to being better at anything. Dancers or musicians may never be the same but every one of them can improve. Every time therefore that you perform recognise that it is an opportunity for you to display your own improvement. That is my view is the real challenge and satisfaction of having a talent. Every Irish Dancing student has an individual talent. Keep working on your talent and be proud of every performance.

Donagh Corcoran, MA., Dip Phil., ADCRG

What Were They Thinking?

Every dancer has wondered what judges really think about during a competition.  What do they look for?  Do my appearance and reputation matter?  Is there some sort of connection between the judges and other teachers?
Hornpipe questioned three prominent adjudicators, who wish to remain anonymous for obvious reasons.  As it turns out, judges are not as unfair as they sometimes seem.
Every single dancer will be disappointed at some point.  There will always be competitions in which a dancer will feel as though he or she danced their absolute best – and then the results will show something completely different.  A dancer will go over and over in their head what they could have possibly done wrong.  Most of the time, it is just impossible to figure out what went wrong, so the low place gets blamed on “the judges just didn’t like my style” or “politics,” or “she just got a new dress.”  Is this really the source of the mysterious placings?
According to the judges, rhythm and execution are the most important elements to a great performance.  They do say, however, that since there are so many excellent dancers these days with good rhythm and timing, it really does come down to style and personal preference.  All of the judges agreed that a personal style can and does enhance an already great performance with rhythm and execution – a given.  For example, some of the judges like elegant, easy-looking, graceful dancers while others prefer the harder, more aggressive movements.  Judges will occasionally let some things go if they are so impressed with a dancer’s overall style.  Sometimes style can eclipse small mistakes in  executing the basics – but only occasionally and that style has to be powerful and magnetic.  Another thing that dancers and their parents have wondered about is that judges don’t look like they are paying attention to a dancer when they are on the stage – they even tend to look away.  These judges all agree that they are busy listening to the rhythm and timing of the dancer without distraction of look or style.  From there, they can move on but it is the rhythm and timing that are the basic “price of admission.”
The next largest pet peeve of these adjudicators is poor posture.  In the past few years, dancers and teachers have failed to focus on maintaining a strict and straight upper posture.  One judge brought up the example of Riverdance, saying that the younger dancers who are brought into the show  have to be re-taught how to hold themselves straight because they stick out in their lines.  Bad posture makes a dancer look unqualified and unconfident.  It takes the attention away from the feet and it is not easily hidden by trendy steps.
Are the feet really first and foremost, what all the judges focus on? The answer from these judges is  “No – of course not.”   Everyone is drawn to beauty and judges are naturally drawn to the beauty of the entire package – the dancing combined with the overall deportment and appearance.  Sure, the dancing is the most important part but when a dancer gets on the stage before the music starts, all judges begin to form an opinion of the dancer based on their appearance.  Many times, this is not a good thing because each judge has their own opinions about how a dancer should look.  A common complaint from adjudicators is that Irish dancing has become too flashy.   Overpowering wigs, unflattering dress cuts, and heavy makeup can all leave a judge guessing about a dancer’s ability before they even point their toe. Sometimes, a dancer is left having to live up to a new glitzy dress.  The judge can form an opinion about the dress that the dancer can never live up to.  Other times, a dress can pull down a good dancer and can leave the judges wondering about their overall presentation.
Talent is obviously a key element in receiving a high score.  Some dancers have natural talent and some do not.  Usually, the dancers who win have a high level of natural ability, but not always.  There are those few dancers who work so hard to achieve first place and judges can tell.  One judge says that the best thing in the world is to watch a dancer, who really has no natural ability, rise to the top because of the dedication, determination, and most of all, heart.  Most people, not just judges, can tell whether or not a dancer really wants to be out on that stage and whether or not they really “want it.”
Since the Irish dancing world is a relatively small community, dancers, teachers and judges know one another.  Dancers who win major competitions are known by virtually every major judge, teacher and competitor.  Dancers who win major competitions are expected by some to continue winning, or come close, in future competitions.  Human beings are extremely susceptible to forming opinions about dancer before they even get onto the stage.  However, the good judges leave their biases, hopes and fears at the doorstep.  All of the judges questioned agreed that a dancer is judged on their performance that day and that day only – it has nothing to do with reputation.  The issue is not whether a dancer has won major competitions is the past.  It is more about whether they can perform better then all of the other competitors on the day of competition.  This is the crux of the issue and the basis of the judgment that day.
However, according to these judges, although most of the judges think this way, not every judge is unbiased and not all judges are good.  A small portion of the panel is inexperienced and can and does tend to rely on their biases when judging.  Hopefully, there are not too many of them out there but every dancer will run across a bad judge at least once in their life.  Adjudication is a reflection of the community at large and so is the ratio between competent and non-competent judges.
The opinions in this article represent the opinions of specific judges and are not meant to be taken as absolute “truth.”  However, dancers should take away from this article the main theme that judges like good dancers with the overall package.  Whether or not you are paying attention to the judges when you step out on stage, know that they are paying attention to you and everything you do.  In a judge’s mind, everything is fair game – everything from your attitude, to your appearance to your dancing style can and will be judged.

By Erin Reilly

Innovation departs from tradition

This July 4th weekend San Diego, California was taken over by Irish dancers.  The 75-degree weather, the palm trees and the sparkling coast brought far more competitors to the 2006 Nationals than in previous years.  Especially entertaining was the parade of girls in wigs and white socks at the ritzy Gaslamp Quarter and the tropical-themed hotel pool.  No doubt the local San Diegans were confused but amused.
It seemed as though everyone had a wonderful time at the Nationals this year.  There was so much to do—visit the Spanish Old Town, soak up the sun at the beaches, and of course, see the famous San Diego Zoo.
Overall, the competition week ran smoothly. However, this year the dancing was inexplicably different.  Articulating this distraction is difficult to pinpoint yet necessary to express. It would appear that the Irish dancing community has traded in traditional dancing movements for theatrical, gymnastic-like moves.  In fact, one would be hard pressed to see a traditional or old school style of dance anymore.
Has innovation to be singularly unique and entertaining diluted the simple beauty of keeping a rhythm and beat? There clearly is a place, however, for this form of dance, but it should be reserved for performances, certainly not the National Irish Dance championships.
Many of these athletic routines are impressive to watch on stage but in actuality, they require only a slight level of talent and capability. They bear no similarities to traditional jumps, butterflies, cross-keys and scissors.  It would suggest that dancers who are not able to execute tricky, traditional moves create flashy distractions to hide their inadequacies. In effect, some dancers have lost a sense of flowing style and gracefulness and opted for steps that are high-energy, fast-paced and disconnected.  Performing each dance, whether it be a reel, slip jig or jig is meant to tell a story.
The tradition of Irish dance is steeped in style and grace. The true champions are those that can make hard moves look elegant and effortless. For example, the slip jig should be flowing and graceful, accentuating the female form.  Many of the San Diego slip jigs looked more like aggressive reels danced to slip jig music.  A good slip-jig dancer should be light on her feet, making the steps look easy and connected with the music. Sometimes a challenging step can be out-done by how well a dancer can execute a simple movement in order to create a complete dance.  It was disappointing to see less of this kind of dancing represented in San Diego this year.
Regardless of whether you subscribe to traditional steps or the “step du jour” of modern culture, each dancer should take immense pride in the traditional expression of Irish dance as it was meant to be. Celebrate your heritage by dancing the way your ancestors intended and practice those rocks and twists until you are blue in the face – Irish dancing will be better for it.

By Erin Reilly

How To: Buy A Solo Dress

With the Oireachtasi [qualifiers for the World Championships] looming just around the corner in November, Irish dancers may be anxiously awaiting the arrival of a brand new solo dress, lovingly designed and custom-made (and generously-paid for!) just in time for the big competition.  While the dress alone doesn’t win a competition, it adds confidence, color and sparkle, which results in a more engaging and enjoyable competitor who stands out among her peers.
Many dancers have become accustomed to the routine of securing a new solo dress in time for the major competitions; however, for first-timers, the process can be daunting.  I still remember the first time my mother and I set out into the treacherous world of dressmakers, in search of an affordable, attainable and available dressmaker.  The process should not be difficult or cumbersome, but exciting and fun for all parties involved: the dancer, her family, the teacher and the dressmaker.  Repeat:  it can be fun!  After quite a few years of experience with costumes and dressmakers, here’s how it goes:

The Process to Solo Dress Stardom

Step 1:  Working with the Teacher
It is imperative that a dancer receive her teacher’s permission before contacting a professional dressmaker, as most teachers have certain criteria their dancers
must meet in order to warrant a solo dress.  Expectations vary from school to school, but generally, teachers expect the dancer to reach the Open Prizewinner level before advancing to a solo dress.  The tradition lies in waiting until the dancer has earned her solo dress, thus making the process more special and gratifying.  For me, having to qualify for a solo dress pushed me to practice harder and gave me a huge sense of accomplishment once I met my goals.  I wouldn’t have had it any other way.
There are a few rules set by the Irish Dance Teachers Association of North America (I.D.T.A.N.A.) and enforced by the North American Feis Commission (N.A.F.C.) regarding costumes in competition.  The I.D.T.A.N.A. recently ruled that as of January 1st, 2007, all Beginner and Advanced Beginner dancers must wear school costumes or skirts and blouses in competition, according to Dennis Dennehy, ADCRG, I.D.T.A.N.A. President.
Once the dancer has gotten to go-ahead, she should be sure to discuss any directions her teacher might have for her new dress.  Some teachers prefer their dancers use certain
dressmakers; others have specific dressmakers employed solely for their school.
The teacher may insist that the solo dress fit certain parameters regarding designs and colors, in hopes of increasing school cohesion and creativity.  After all, the dancer will most likely be wearing her solo dress in school performances, so ensuring that each and every solo dress in the school looks unique is an important aesthetic element when it comes to putting on a show.  For instance, I knew three dancers from the same school who all designed dresses independently, each centered with a celtic cross on the front panel.  From the stage, it almost looked like a mock-up for a school costume because of the distinct similarities between the three dresses.  There is nothing wrong with this, but such an occurrence does not need to happen with the wealth of originality and adaptability today’s dressmakers possess.  Remember, dressmakers are paid to create, not copy.

Step 2:  Finding the Dressmaker for You
When researching the appropriate dressmaker to meet her needs, the dancer and her family should consider the dressmaker’s location, level of expertise, reputation, personal taste and of course, the almighty price tag.
A lot of these elements are dependent on the dancer’s competitive level – if she is an Open Championship dancer attending major competitions, she may rely heavily on a highly-reputable, well-accomplished dressmaker.  However, if this is her first solo dress and she is still climbing the ranks, the dancer does not have to worry about her dress being indicative of who made it.  (Not that any dancer does, but that’s a whole different story.)  Rather, she should be concerned with a well-made, suitable dress to fit her personality and style.
“It does matter who makes the dress,” said Russell Beaton, ADCRG.  “It must fit a certain way and move a certain way.  There are plenty of people who think they can make a dress.  It requires practice, and trial and error.”
The location of a dressmaker can affect the availability of the dressmaker and thus the level of comfort for the client.  For example, ordering a dress from Ireland in the United States means mailing measurements and hoping that the dress arrives fitting correctly.  On the other hand, using a dressmaker who is located nearby, where the dancer can be introduced and sized-up, measured in person and available for any last minute alterations, gives both parties greater peace of mind.  Though, with the thriving dressmaking business today, ordering overseas has become somewhat of a science and a solo dress can arrive fitting like a glove.  I would recommend having the teacher take the dancer’s measurements, as they are generally more familiar with how the dress should fit and where there should be extra give.  There are pros and cons to both methods and as with most things in life, nothing is a guarantee.  Pick what’s most comfortable for you and stand by your decision.
In choosing a dressmaker, personal taste plays a significant role.  While most dressmakers will cater their dresses to the particular client, certain dressmakers are reputed for their wild fabrics and creative patterns, so if a dancer is not ready to make a bold fashion statement with her solo dress, she should be aware of her dressmaker’s whims.  The top dancers usually set the newest fashions, and anything too over-the-top may end up looking inappropriate, to say the least, on an average dancer.  And if a dancer cannot pull off fur or feathers, a loud dress will only detract from her overall performance.
A solo dress can cost more than $1000, and I would say that is an average price.  Depending on which dressmaker and fabrics are chosen, this price could easily double.
“It’s gotten to the point where people think that without a very expensive dress and the latest fashions, they can’t win,” said Beaton. “That’s not true.”
There are innumerable dressmakers popping up throughout the world, so there is no shortage of choices.  With a bit of research and attention to word-of-mouth, any dancer can find the appropriate dressmaker to fit her needs and expectations.

Step 3:  Working with the Dressmaker
Whether the chosen dressmaker is near or far, there are several key choices that every solo dress is built upon:  colors, designs, fabrics and styles.  And with today’s fashions, anything is possible.  [See Vol. 8, Issue 2 “Dress for the Occasion” Hornpipe May/June issue for more info.]  Working with the dressmaker may entail multiple emails or phone calls, but in other than that, control is out of the dancer’s hands at this point.  All you can do is wait in anticipation!  (Generally four to six weeks.)

Step 4:  Solo Dress Stardom
“If you dress really well, you feel better,” said Beaton.  “You’ll dancer better and move better.”
Once the dress finally arrives, look for last minutes adjustments and alterations, beginning by showing the dress to the teacher.  Hopefully, everyone is fully satisfied with the new solo dress and the next time the dancer takes the stage, her smile will outshine all the rest because she has achieved solo dress stardom! hm

By Katie Hamilton

Irish Dancing the good features for life’s journey

When any student commences Irish Dancing they are entering on a journey that is very beneficial in many ways. These benefits can include; new ways of learning; skills and knowledge about being part of a group; practice and the importance of the personal discipline this requires; the opportunities for performance; and of course the development of personality.
Teaching the dancer is for every dancing teacher both an individual and group task. Every student is different and has to be related to on a one to one basis. The teacher will give knowledge about steps, movement, carriage and rhythm to a group of students. However, the actual performance of these requires individual attention. Students each learn at a different pace. This has nothing to do with intelligence. It simply reflects the different ways in which students assimilate knowledge and check their understanding of this. In fact sometimes, in my experience, an intellectual person will be among the last to acknowledge that they have understood and got the sequence of skills in any particular lesson. Therefore concentrate on your own learning and not that of anyone else. You are a learning person in your own right and will continue to be through your life.
To become part of a new group takes time. We do not know the names nor have we perhaps ever met any of the group previously. Get to know the names as early as you can. The reason for this is simply that it makes integration easier. Also we all like to be acknowledged by name so it quickens your acceptance into the group.  Groups are made up of people with different personalities and temperaments. Some are competitive while others are not. Of course disagreements are a part of life also and this will happen within a group. The most important thing for you is to enjoy each person in the group for the contribution they make to your dancing experience. You do not have to change for the group. Continue to be yourself and let them get to know the real you. This will be only one of many groups you will be a part of during your life so enjoy the challenges each one presents.
Practice is not confined to dancing. Study and practice are of course linked to each other. Practice when it is understood correctly will be recognised as an opportunity for you to improve. In figure dancing, the practice of the group is a challenge to each member of the team. The discipline required for such practice is different from what you experience as an individual. The good team will see the value of practice. They might wish to be doing something else, but they all know that practice is essential for good performance.
One of the best ways of getting the benefit of performance is to have an audience. Usually, this commences with one person. A parent, family member, friend or teacher is the first to have this experience of you as the performer. One of the initial benefits of this is that the audience, even of one person, takes the performance mentally and visually beyond yourself. This presents the opportunity also for feedback. This is a normal part of life and should always be welcomed. If we receive this in a positive way it can be very productive. The main reason for this is that such an experience prepares you for bigger audiences over time. There should therefore be a progression from an audience of one to a bigger number.
Ultimately your experience of performing in competition will be more positive also and indeed more satisfying. The very competitive dancer will usually have the confidence to not be phased or distracted by the fact that many people may be watching the performance. In fact one of the challenges such a dancer will see is to win a good audience reaction to the performance. In this way the audience can enhance the performance. How often do you notice in big athletics competitions on the television competitors encouraging the audience to be part of their effort to achieve a higher level of performance? Learning to be able to perform with confidence before one audience makes it easier to do it with other audiences. Just stop and think of the number of different audiences you as a person might encounter throughout your life. I assure you there are many and you should welcome the challenge.
Every dancer has confidence. This helps greatly in his/her development as a person. Performance is enough to build this confidence. You do not have to be a champion dancer to feel you have a high level of confidence. We are all developing people through our lives because we continue to learn. The experience of being a dancer greatly enhances this through your life.

Donagh Corcoran, MA., Dip Phil., ADCRG

Profile The Bracken School of Irish Dance

You Are Invited
Welcome to the Bracken School of Irish Dance:  A magical place where the teacher laughs as much as his students, performances are cherished more than competitions and every student is celebrated.
It sounds far-fetched, but Tom Bracken A.D.C.R.G. has created a learning environment than incorporates mutual respect, high expectations and pure fun that allow his students to study the art of Irish dance – and enjoy every minute of it.  Sometimes classes run a little longer and that’s perfectly okay; in fact, these students are even grateful for the extra practice.
“If classes are an hour and a half, it will go on for another hour and a half,” said Open Championship dancer John Smith, 20. “For Worlds [World Championships of Irish Dance, Rince na Cruinne] we stayed until 11:00 or 11:30 at night sometimes.  It’s really generous of him [Bracken] and we give him the same back.”
Among the 200 students in the Bracken School, 29 soloists and three ceili teams will compete at the North American Nationals, which at the time of this article are quickly approaching at the end of June.  As Bracken rotates between three rooms in his Phoenix studio, he critiques jigs and hornpipes of all levels, treating champion and beginner-level dancers with the same charisma and consideration.  Every student is dressed in the same navy blue Bracken School t-shirt, including Tom Bracken himself, and with his refreshing energy and youthful sense of humor, one almost mistakes him for one of his students.
“It’s all about expectations,” said Bracken.  “I set the standards and they know what’s expected of them.  It’s mutual respect.  I have to meet their expectations also.”
Bracken has more than met his students’ expectations, setting himself apart as one of the most successful Irish dance teachers in the Western region, garnering 22 World medals in the process.
Born in Tullamore, County Offaly, Bracken began dancing at the age of four, later joining the famous Inis Ealga School in Dublin.  He has a rich academic background, having attended university and working as a senior administrator in an England high school.  While Bracken was successfully working and teaching Irish dance in England, he reached a crossroads where he could continue working as such, or seize a new opportunity.
“Looking at the rest of my working career, I had risen to the top of my profession but nothing appealed to me at that point in time,” said Bracken.
Having reached the pinnacle of his academic career in England, Bracken turned down a job offer to become a school principal and instead opted to come to America.

“I said, I’m off to America!”
Bracken packed his bags and came to California and eventually took over Doireann Maoileidigh-Hoy’s classes in Phoenix.  As Bracken set out on his new adventure, he knew it would be difficult to make the shift from the academic world to the creative world, but he was up for the challenge.
He added that after years of living in England, he was looking forward to the hot Phoenix weather.
Bracken now teaches seven days a week with class locations in Phoenix, Chandler, Ariz. and San Diego, Calif.
On June 5th Bracken closed his Tucson studio after 10 years. It was a pragmatic decision he felt was necessary in order to pursue further academic credentials while maintaining the high standards of the rest of the school.  During the 10 years of teaching in Tucson, Irish Dance and the Bracken name became synonymous.
“I have no regrets; I had ten good years there.  It was no longer on my agenda to do it, so I will be continuing with my future plans, concentrating on Irish Dance classes in metro Phoenix and Greater San Diego.”
In order to remain the sole teacher in the school, Bracken said his option was to downsize.  He currently has homes in both Arizona and California, as well as cars awaiting him at each airport, so his travel is both minimized and time-efficient.
“It is better being on my own,” Bracken said. “I prefer working seven days a week, sustaining the integrity of my school, while at the same time nurturing trust and a good relationship with my dancers which ultimately leads to a more happy and successful school.”

The Spirit of the School
Regardless of location, the Bracken School maintains an intangible spirit of love and humor that is rare, even in Irish dance.  The students share a strong work ethic and excitement for the dance, but care for each other and have many laughs along the way.  The refreshing attitude of the community is a quality that is often sacrificed for other merits in Irish dance.
“He is a great person and an amazing teacher,” said Shannon Speshock, 16, of Chandler.  “I look up to him.  This would not be the same school it is today if Tom was not here, with all the hard work and dedication he puts into us.  This is our family.”
“It’s like my old job,” said Bracken.  “The welfare of my students is a lifelong work.  In the academic and the dance world, there’s a common understanding.”
Bracken admits that there is an edge in Irish dance that is not so nice, but he does his best to promote respect and kindness in his dancers.  As much as Bracken acknowledges the merits of competition, it remains low on his priority list.
“The gratification comes from watching the performances, not from the achievements in competition,” said Bracken.  “Who does that make happy?  Only one person – the dancer who got first.  But when you teach them how to perform and how to perform with integrity – that’s the more moving part of my involvement.”
As for Bracken’s students, it seems that all the right lessons are being transmitted, demonstrated by their success in Irish dance and beyond.
“The lessons in life in competitive dancing, it depends on the integrity of the parent and teacher as to what is transmitted,” he said.  “It’s the way children are trained.”
“He’s very funny, we joke around all the time,” John Smith said of Bracken.  “But we’re also very, very hard-working when we work.  He’s really dedicated and goes above and beyond to help me.  It shows with the amount of time he commits to us, attending to us on a personal level, too.”
Smith drove from San Diego to Phoenix in order to practice with his ceili team for Nationals.  After receiving second place for solos the past two years at Nationals, he hopes to win all three rounds in 2006.
“My favorite part of Irish dance is the people and the interactions and the friendships you make,” Smith said.
As for Bracken, “He has been a friend to me as much as a teacher,” said Smith.
It is evident that Smith dances to please Bracken as well as himself.  While he dances his hornpipe, Bracken studies the open championship dancer, urging him to lift more as Smith nears the end of his round.
“The teaching and creating of champions is the pursuit of excellence, but when overindulgent thinking becomes more important than the actual school – you need to reevaluate things,” said Bracken.  “If we work with integrity, I don’t need any more than that.”
Bracken said the most rewarding part of Irish dance has been experiencing his students perform in the public arena.  One of his favorite memories was watching a performance at the San Diego Symphony Hall – and the dancers receiving a standing ovation after the show.
“Watching everyone around me so taken with the performance, seeing the audience thrilled with what they’ve done … I think, ‘Wow, I made that happen,” Bracken said.  “I’ve been instrumental in making so many people happy.”
“This is his life and he makes his students his life,” said Open Championship dancer Amanda Harrington, 20.  “He is a second parent to me.  It goes past Irish dance.”
The Love of the Dance
Tom Bracken has created a stunning legacy in ten short years of teaching Irish dance in Arizona and California.  While he plans on working on academic postscripts in the future, Bracken knows for certain he will continue to teach the pattern of excellence he has already begun over the next ten years and beyond.
Kirsten Hahn began dancing for Bracken at 18 years old when she came to Arizona for college.  Now 24, Hahn will make her sixth Nationals appearance and is hoping to place in the top twenty.  She owes a lot of her success to her teacher.
“He’s great,” Hahn said.  “I don’t know how to sum it all up.  He wants so much for us to do the best we can.  Tom does everything he can to help us get there.”
Hahn said she will continue Irish dance and when she is satisfied with her placements, she plans on taking her TCRG [An Coimisiún le Rincí Gaelacha certified teacher] exams to become an Irish dance teacher, following in his footsteps.
When Bracken speaks to his class, he looks at the faces of children and young adults, dancers he has watched grow up before his eyes and dancers who know him almost as well as he knows himself.
When he looks at his dancers on this Saturday morning of practice, he has a smile on his face.  It tends to stay there. hm

Bracken School of Irish Dance
Owner/Director Thomas P. Bracken A.D.C.R.G.
www.brackenschool.com
tpbrackensid@aol.com

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