‘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.

Legends as music: new composition in the traditional Irish idiom

Engaging Ireland’s rich heritages of traditional music, story-telling, song, dance, and language, this doctoral composition project is a unique undertaking in the amalgamation of native art forms and the narrative realisation of Irish legends. The centrepiece of the project comprises of two collections of compositions inspired by the legends Oidhe Chloinne Lir (the tragic fate of the children of Lir) and Loinges Mac nUislenn (the exile of the sons of Uisliu). An interdisciplinary approach of traditional research and creative practice was employed in the development of this project, which informed and supported the formulation of personal and distinctive recensions of the chosen narratives, and the composition of over three hundred new works. Grounded in Irish traditional music, the compositional voice speaks in the familiar styles and structures of the idiom, and also resonates in contemporary and singular spaces. The Irish harping tradition is continued and extended in this research through the composition and recording of new music which is particularly suited to the instrument. Outputs include contextual, critical, and creative writings, recordings, video materials, musical scores, and storyboard and performance design artwork.

Aspects of Liminality in Eilis Ni Dhuibhne's The Dancers Dancing

In this essay I refer Eilis Ni Dhuibhne’s narrative construction of the main characters and the theme of the novel The Dancers Dancing, in the context of the anthropologist Victor Turner’s concept of liminality. Thus the summer in the Gaeltacht that five teenage girls experience, can be understood as a depiction of the liminal phase in a rite of passage. Ni Dhuibhne’s differently constructed characters enlighten different aspects of liminality and through the céilí dance their experiences are exposed. Furthermore this essay suggests that Julia Kristeva’s notion of the chora, which can be associated to dance, is also relevant when describing the unbounded and unlimited process that radically can reform social structures. I conclude that the liminal space offers an area of many possibilities. It functions as a free zone where the main characters can freely explore their personal issues that trouble them, or the difficulties of their own society.

Molly on the shore; Irish reel on 2 Cork reel tunes set for string four-some or string band.

For 2 violins, viola, violoncello.

Choreographies of Irish Modernity

Although movement is often viewed as forming the ‘kinetic basis’ of the modern age, the analysis of movement practices such as dance is often neglected in theories of modernity. Dance theorists such as André Lepecki (2006) and Randy Martin (1998) have argued for an awareness of how the kinaesthetic politics of modernity perform a colonization of space and bodies in their constant drive toward movement and mobility. This chapter examines how an analysis of two dance works by Irish artists, one from the early twentieth century and one from the early twenty-first century, can contribute to these discussions of modernity and dance, and how the works might illuminate connections between dance and politics in Ireland in their alternative approaches to these modernist kinaesthetic politics. Taking a brief, contextualizing look at an early dance play by William Butler Yeats, the chapter then focuses on what echoes, or afterlives, can be found from this early modernist work in a piece by contemporary dance theatre choreographer Fearghus Ó’Conchúir. In both works we see the ability of dance to create an alternative space within the pervading discourses (or movements) of a sociopolitical and cultural landscape that allows the spectator – through a visceral connection with a dancer – to experience a different perspective on the ‘idea of a nation’.

Megan Henderson and Gay Walkington in Wattle Dance Group, Christmas 1968

Megan Henderson and Gay Walkington in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.

June Hill in Wattle Dance Group, Christmas 1968

June Hill in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.

Julie Walkington and Karlin Bracegirdle in Wattle Dance Group, Christmas 1968

Julie Walkington and Karlin Bracegirdle in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.

Masculine, feminine or neutral? In-company equal opportunities policies in Irish and French MNC retailing

Several problematic aspects of women's paid employment - e.g. low pay and lack of promotional opportunities - are exacerbated by the segregation of women and men into different occupations. In this article, the potential of in-store equal opportunities policies to break down such gender segregation will be explored, through consideration of the existence and implementation of these policies in twenty-two multinational retail companies in Dublin and Paris. It will be argued that, with one notable exception, the instore equal opportunities policies are effectively neutralized, and furthermore are neutralized in nationally specific ways which can be related to differences between France and Ireland in the organization of labour-market regulation and in women's labour-force participation (LFP). The case-study findings also suggest that the 'country' variable has a stronger effect on the existence and implementation of these policies than the extent of a shop's links to an overseas headquarters. The findings of this study have implications for both the equity of women's incorporation into the paid labour force and understanding of aspects of HRM in branches of multinational companies.