The Royal Scottish Country Dance Society’s 75th Anniversary
(1923 – 1998)
Today the term ‘Scottish Country Dance’ embraces the social, usually progressive, dances of Scotland which have evolved from many traditions and are danced throughout the world with much pleasure by Scots and non-Scots alike.
The figure dances of the countryside, many set to Scottish or Irish tunes, became very popular in the 16th century and were called Country Dances. The constant influence of one European Court upon the other meant that the dancers were always absorbing new ideas of style. The greatest flowering of this form of dance was in the Assembly Rooms of the 18th century. (Edinburgh, during this period of enlightenment, emulated the European capitals and dance assemblies, conducted with utmost decorum, flourished). Other cities and towns soon followed and dancing became an accepted part of social interaction.
Scotland, of course, had other traditions of dance and once north of the border the country dances incorporated features from older strathspeys, reels, rants and jigs, etc. This was now a style of dance with which the whole society of Scotland could feel comfortable. This was the elegance and courtesy of the Country Dance and the energy and precision of step of the old Reels. The Scots, with their ‘auld allies’ the French, valued dancing for its own sake and often showed great skill and vigour.
The Country Dances continued to flourish in Scotland after they had died out in England and now the repertoire also included the new couple dances, quadrilles and polkas. The dancing masters, who traveled extensively throughout Europe, taught the skills of dancing to all levels of society in Scotland. They were often skilled musicians and taught the older country dances, as well as the newer, fashionable dances.
By the beginning of the 20th century the number of Country Dances appearing on programmes had dwindled but they were still popular and appeared regularly. The Great War of 1914-18 changed the world for ever, a generation had lost its men folk, syncopated rhythms of jazz and ragtime were sweeping the country and the Scottish Country Dance had all but disappeared.
After the War Mrs Ysobel Stewart of Fasnacloich (of a distinguished family from Appin, Argyll) and Miss Jean Milligan (a teacher of Physical Education at Jordanhill Teachers’ Training College) wished to restore the old social dances of Scotland and with them their music. These two committed and energetic ladies researched and collected the dances from friends and family and assisted by Paterson’s Publications published their first book. After placing an advertisement in a Glasgow newspaper, a meeting was held on 26th November, 1923 and the Scottish Country Dance Society was formed. The title ‘Royal’ was conferred upon the Society in 1951 and Her Majesty Queen Elizabeth II graciously became its Patron in 1952.
Since those early days the R.S.C.D.S. has evolved into a worldwide organisation, with approx 25,000 members. It is administered from its Headquarters in Edinburgh through a network of 170 Local Associations and over 500 other affiliated groups.
Mrs Stewart, Miss Milligan and their associates were keen to see the Country Dances restored to their dignified and sociable best and to that end, they encouraged classes and taught a new generation of dancing teachers. They adopted a measure of standardization, but were well aware of the regional variations in many of the popular dances.
Today the aims of the R.S.C.D.S. are to preserve and promote the practice of Scottish Country Dancing by providing education and instruction, by publishing books of dances with music, by commissioning recordings of dance music and by collecting items relevant to the history of dance in Scotland.
The R.S.C.D.S. has always stressed the importance of the social nature of the dance form – giving plenty of opportunities for fun and friendship – but is equally concerned with upholding the standards of correct dancing technique. It is this unique blend of wonderful music, disciplined dancing, intricate floor patterns and sociability that appeals to so many people throughout the world.
Since 1923 many old printed books and manuscript collections have been searched for dances and their tunes. The dance instructions have been interpreted and sometimes adapted for modern use. The success of the genre is that now many new dances are composed in traditional form, new formations are introduced, new forms of progression are devised and new tunes written. The dances published by the R.S.C.D.S. and distributed to members all retain the essential characteristics of the traditional country dance. The R.S.C.D.S. also produce sound recordings and videos to accompany many of the books.
The R.S.C.D.S. has tried to ensure that the tunes associated with the traditional dances are preserved. As new dances are published, music is carefully chosen so that the tunes and the figures of the dances are totally compatible. The skills and enthusiasm of many Scottish musicians have been greatly appreciated in both the arranging and recording of music for dancing.
During 1998 R.S.C.D.S. members the world over have organized many varied functions to celebrate the 75th Anniversary of the founding of the Society. There were 5 dances suggested for inclusion in programmes so that all could feel part of the same party. The Past-Chairman and his wife, Mr and Mrs Bill Clement, traveled extensively taking part in these events as did Mrs Linda Gaul who took office as Chairperson at the recent AGM which took the Society back to its roots in Glasgow.
The Anniversary year has also featured wonderfully nostalgic exhibitions with old photographs, newspaper cuttings, dance programmes, etc but it is the future of dancing in Scotland that must now be the focus for the R.S.C.D.S. Ready, And……..
The figure dances of the countryside, many set to Scottish or Irish tunes, became very popular in the 16th century and were called Country Dances. The constant influence of one European Court upon the other meant that the dancers were always absorbing new ideas of style. The greatest flowering of this form of dance was in the Assembly Rooms of the 18th century. (Edinburgh, during this period of enlightenment, emulated the European capitals and dance assemblies, conducted with utmost decorum, flourished). Other cities and towns soon followed and dancing became an accepted part of social interaction.
Scotland, of course, had other traditions of dance and once north of the border the country dances incorporated features from older strathspeys, reels, rants and jigs, etc. This was now a style of dance with which the whole society of Scotland could feel comfortable. This was the elegance and courtesy of the Country Dance and the energy and precision of step of the old Reels. The Scots, with their ‘auld allies’ the French, valued dancing for its own sake and often showed great skill and vigour.
The Country Dances continued to flourish in Scotland after they had died out in England and now the repertoire also included the new couple dances, quadrilles and polkas. The dancing masters, who traveled extensively throughout Europe, taught the skills of dancing to all levels of society in Scotland. They were often skilled musicians and taught the older country dances, as well as the newer, fashionable dances.
By the beginning of the 20th century the number of Country Dances appearing on programmes had dwindled but they were still popular and appeared regularly. The Great War of 1914-18 changed the world for ever, a generation had lost its men folk, syncopated rhythms of jazz and ragtime were sweeping the country and the Scottish Country Dance had all but disappeared.
After the War Mrs Ysobel Stewart of Fasnacloich (of a distinguished family from Appin, Argyll) and Miss Jean Milligan (a teacher of Physical Education at Jordanhill Teachers’ Training College) wished to restore the old social dances of Scotland and with them their music. These two committed and energetic ladies researched and collected the dances from friends and family and assisted by Paterson’s Publications published their first book. After placing an advertisement in a Glasgow newspaper, a meeting was held on 26th November, 1923 and the Scottish Country Dance Society was formed. The title ‘Royal’ was conferred upon the Society in 1951 and Her Majesty Queen Elizabeth II graciously became its Patron in 1952.
Since those early days the R.S.C.D.S. has evolved into a worldwide organisation, with approx 25,000 members. It is administered from its Headquarters in Edinburgh through a network of 170 Local Associations and over 500 other affiliated groups.
Mrs Stewart, Miss Milligan and their associates were keen to see the Country Dances restored to their dignified and sociable best and to that end, they encouraged classes and taught a new generation of dancing teachers. They adopted a measure of standardization, but were well aware of the regional variations in many of the popular dances.
Today the aims of the R.S.C.D.S. are to preserve and promote the practice of Scottish Country Dancing by providing education and instruction, by publishing books of dances with music, by commissioning recordings of dance music and by collecting items relevant to the history of dance in Scotland.
The R.S.C.D.S. has always stressed the importance of the social nature of the dance form – giving plenty of opportunities for fun and friendship – but is equally concerned with upholding the standards of correct dancing technique. It is this unique blend of wonderful music, disciplined dancing, intricate floor patterns and sociability that appeals to so many people throughout the world.
Since 1923 many old printed books and manuscript collections have been searched for dances and their tunes. The dance instructions have been interpreted and sometimes adapted for modern use. The success of the genre is that now many new dances are composed in traditional form, new formations are introduced, new forms of progression are devised and new tunes written. The dances published by the R.S.C.D.S. and distributed to members all retain the essential characteristics of the traditional country dance. The R.S.C.D.S. also produce sound recordings and videos to accompany many of the books.
The R.S.C.D.S. has tried to ensure that the tunes associated with the traditional dances are preserved. As new dances are published, music is carefully chosen so that the tunes and the figures of the dances are totally compatible. The skills and enthusiasm of many Scottish musicians have been greatly appreciated in both the arranging and recording of music for dancing.
During 1998 R.S.C.D.S. members the world over have organized many varied functions to celebrate the 75th Anniversary of the founding of the Society. There were 5 dances suggested for inclusion in programmes so that all could feel part of the same party. The Past-Chairman and his wife, Mr and Mrs Bill Clement, traveled extensively taking part in these events as did Mrs Linda Gaul who took office as Chairperson at the recent AGM which took the Society back to its roots in Glasgow.
The Anniversary year has also featured wonderfully nostalgic exhibitions with old photographs, newspaper cuttings, dance programmes, etc but it is the future of dancing in Scotland that must now be the focus for the R.S.C.D.S. Ready, And……..