‘Do you want to see my hornpipe?’: the traditional Irish dancing body at play in the work of Jean Butler and Colin Dunne’, in Anthony Shay and Barbara Sellers-Young (eds.), The Oxford Handbook of Dance and Ethnicity, Oxford: Oxford University Press, 2016, pp.41-65.

This chapter considers the radical reimaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne, in which the Irish step-dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step-dance technique becomes a springboard for creative experimentation. To consider the importance of the creative potential revealed by these works, this chapter contextualizes them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the “modernization” of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland’s national folk theater, Siamsa Tíre.

Audit of mathematics learning support in Ireland in 2015 – the key findings

In 2015 the Irish Mathematics Learning Support Network (IMLSN) commissioned a comprehensive audit of the extent and nature of mathematics learning support (MLS) provision on the island of Ireland. An online survey was sent to 32 institutions, including universities, institutes of technology, further education and teacher training colleges, and a 97% response rate was achieved. While the headline figure – 84% of institutions that responded to the survey provide MLS – sounds good, deeper analysis reveals that the true state of MLS is not so solid. For example, in 25% of institutions offering MLS, only five hours per week (at most) of physical MLS are available, while in 20% of institutions the service is provided by only one or two staff members. Furthermore, training of tutors is minimal or non-existent in at least half of the institutions offering MLS. The results provide an illuminating picture, however, identifying the true state of MLS in Ireland is beneficial only if it informs developments in the years ahead. This talk will present some of the findings of the survey in more depth along with conclusions and recommendations. Key among these is the need for institutions to recognise MLS as a vital element of mathematics teaching and learning strategy at third level and devote the necessary resources to facilitate the provision of a service which can grow and adapt to meet student requirements.

Seeing How it Sounds: Observation, Imitation and Improved Learning in Piano Playing

Research in various fields has shown that students benefit from teacher action demonstrations during instruction, establishing the need to better understand the effectiveness of different demonstration types across student proficiency levels. This study centres upon a piano learning and teaching environment in which beginners and intermediate piano students (N=48) learning to perform a specific type of staccato were submitted to three different (group exclusive) teaching conditions: audio-only demonstration of the musical task; observation of the teacher's action demonstration followed by student imitation (blockedobservation); and observation of the teacher's action demonstration whilst alternating imitation of the task with the teacher's performance (interleaved-observation). Learning was measured in relation to students' range of wrist amplitude (RWA) and ratio of sound and inter-sound duration (SIDR) before, during and after training. Observation and imitation of the teacher’s action demonstrations had a beneficial effect on students' staccato knowledge retention at different times after training: students submitted to interleaved-observation presented significantly shorter note duration and larger wrist rotation, and as such, were more proficient at the learned technique in each of the lesson and retention tests than students in the other learning conditions. There were no significant differences in performance or retention for students of different proficiency levels. These findings have relevant implications for instrumental music pedagogy and other contexts where embodied action is an essential aspect of the learning process.