United Kingdom Alliance Scottish Step-Dance Exam Syllabus

Contents United Kingdom Alliance Scottish Step-Dance Exam Syllabus Preamble... 3 Scottish Step Dancing a brief history...4 Glossary of positions and basic movements...5 Hands...5 Head...5 Feet...5 Footwear...5 Dress...5 General directives, abbreviations and basic foot motions...6 Key to musical symbols...6 Basic movements...7 Syllabus outline...13 Syllabus...14 Introductory...14 Pre-bronze...14 Bronze...14 Silver...15 Gold...15 1 st Gold Thistle...16 2 nd Gold Thistle...16 3 rd Gold Thistle...16 4 th Gold Thistle...17 Suggested further reading...18 Prepared for the UKA by scottishstep.com Mats Melin, Deryck & Gareth Mitchelson May 2003

Preamble The purpose of this syllabus is not to provide enthusiasts with a definitive glossary of Scottish stepdancing, or indeed to be a stand-alone instruction manual. It is instead intended to be an aide to be used by practitioners / teachers providing a structured learning path to encourage dancers to take part, and be a part, of the preservation of this traditional dance form. This is only an attempt to put down on paper our interpretations of some of the more basic rhythm patterns involved in step-dancing with only the slightest indication given as to where the feet should, so as not to inhibit individual interpretation. It is recommended that personal tuition be sought, as the written word can never be a substitute for first hand experience. We all hope that you enjoy trying this exciting dance form and though your participation we can all help to preserve this traditional Scottish art. Deryck, Gareth & Mats (scottishstep.com) Scottish Step Dancing a brief history What is step-dancing? Step-dancing is the art of beating out the rhythm of the music with the feet using the balls, the heels and the toes. Hopping, beating and brushing form the basis of the many movements used to produce the rhythms that complement, or indeed may create, the music. It is an informal dance form in which normal hard-soled shoes are worn, the feet are kept almost parallel throughout most steps, and the dancing is kept light and close to the floor, with the body held upright and the arms hanging loosely by the sides. A living tradition Step-dancing was and still is, to some extent, a living dance tradition in Scotland. It shares the same beating of feet and origin with the step-dancing styles found in Ireland, England, and France, and likewise with the Clogging traditions of England, Wales, France and parts of Scotland. As a pure dance form, step-dancing has declined in Scotland to such an extent that many people regard it as Irish rather than Scottish. In the past, step-dancing was used in dances such as the Scotch Reel and other similar dances. Out of the social dances grew a solo dance tradition in which solo dancing was performed to most time signatures, but commonly to jigs, reels, strathspeys and hornpipes. Steps & routines There are now only a few set routines for step-dances, but as in the past certain steps were associated with particular tunes and would have been danced in a certain manner. Presently most step-dancers respond directly to the music or songs provided and feel what steps are best suited to the tune being played. This asks for a great deal of musical awareness from the dancer, a fact that the generations of old took for granted. An art form Step-dancing is an art and, like many other traditional dance forms, reflects the highly individual stylistic preferences of the practitioner / teacher and indeed of all the practitioners / teachers in a particular line. Dance forms such as step-dancing do not readily translate from physical performance to text in a handbook the written word can never be a substitute for first hand experience and should be considered only to be a memory aide. General guidelines It then follows that there is no one-way of performing the movements or steps. There are, however, some general guidelines that are adhered to by most practitioners of this style (Scottish) of stepdancing and by which older generations will judge the quality of a dancer: the dancing should be light and neat, that is keeping close to the floor and dancing without much action above the knees or without too much sideways movement across the floor; a good step-dancer should, where appropriate, be able to dance exactly on the spot; the dancer should be able to follow the music closely and adjust his stepping to the environment, i.e. the type of floor, what shoes are worn and so forth. 6 The future Step dancing is, and no doubt will continue to be, very much an inherited tradition surviving and evolving as it is passed down from one generation of dancers to the next.

Glossary of positions and basic movements Hands In Scottish Step Dancing there are no pre-defined arm positions or movements. The arms should be relaxed and held by the side of the body during the dance. Head If the dancer is travelling then the head should be directed along the line of travel and in all other cases the head should face the front. Feet The feet positions are shown in the following table. General directives, abbreviations and basic foot motions General directives Bold bold and under lined means full weight bearing movement Plain plain and under lined means partial weight bearing movement Plain Plain with no underline means movement with no weight Abbreviations f b s fw bh X T H Front Back Side Forward Behind Cross or crossed Ball (toe) in contact with floor; or with reference to a brushing motion the toes touch the floor during the brushing motion Heel placed in contact with floor with the toes raised (not in contact with the floor); or with reference to a brushing motion the heel touches the floor during the brushing motion L R L R L R L R R L Parallel Heels together Wide heels together Toes together Crossed L R L R Side parallel Side Foot motions Basic Hop Step Beat Heel Toe Stamp Kick Drop heel Brush Brush Brush in Brush out Brush H out with weight on one foot, jump up and land on the ball of same foot with weight on one foot, transfer weight onto ball (or as directed) of the other foot ball of the foot contacts floor and then lifts up heel contacts floor toe tip contacts floor (usually behind the body) flat-footed step (bears weight only if so marked) carry the foot forward raising it slightly at the front in a kicking style Starting with the ball of the foot on floor and the heel raised, let the heel drop to floor A specified part of the foot touches the ground (lightly sliding to produce a brushing motion) as the foot is carried either inwards towards the other foot or outwards away from the other foot ball of foot touches the ground as the foot brushes in ball of foot touches the ground as the foot brushes out heel of foot touches the ground as the foot brushes out R L L R L L Shuffle H-T shuffle T-T shuffle heel of foot brushes out and ball of same foot brushes back (this is the most common method for dancing shuffles!) ball of foot brushes out and ball of same foot brushes back R R In front Behind Forward Back Footwear Shoes should be flat with a hard sole and a small heel. Dress Key to musical symbols Name Symbol Duration Demi -semi -quaver Semi-quaver Quaver Crotchet Minim Semi-brieve 1/8 count 1/4 count 1/2 count 1 count 2 counts 4 counts Note: a note followed by indicates that the duration of the note is increa sed by 50% Dancers should wear dark trousers and a shirt.

Basic movements Strathspey S 1 Step & Hop...9 S 2 Step & Kick...9 S 3 Step, Step, Step & Kick...9 S 4 Front Step...9 S 5 Back Step...9 S 6 7 Side Step (2 bars)...9 S 7 Pas de Basques...9 S 8 Pas de Basques on the heel...9 Reel R 1 Back step (half bar movement)...10 R 2 Triple / Treble (half bar movement)...10 R 3 Toe & Toe Steps (half bar movement)...10 R 4 Heel & Toe Steps (half bar movement)...10 R 5 Toe Across Steps (half bar movement)...10 R 6 Heel Heel Steps (half bar movement)...10 R 7 Basic Hop Step...10 R 8 Basic Behind...10 R 9 Basic in front...10 R 10 Basic Stamp...11 R 11 Basic Heel Toe...11 R 12 Basic Toe drop heel...11 R 13 Toe Toe Shuffle...11 R 14 Heel Toe Shuffle...11 R 15 Double Heel Toe Shuffle...11 J 1 Step Shuffle (half bar movement)...12 J 2 Step Shuffle double...12 J 3 Pas de Basques...12 J 4 Step-Step-Shuffle...12 J 5 Step & Hop & Shuffle...12 J 6 Beat four...12 Combining movements in to Step sequences General guidelines...8 Strathspey time:...8 Reel time:...8 time:...8 Combining movements in to Step sequences General guidelines There are no hard and fast rules but there are two general guidelines that are normally adhered to. You start by stepping on to LF and working with RF. It is usual (traditional) to make 4 bar (2 or 8 bar) sequences and then change to another sequence. Some examples of combinations are listed below: Strathspey time: S1-S3 & S6-S8: these steps tend to be done four times on alternate feet, stepping on to LF to begin. When learning, double that (ie eight times) is probably a good guideline, but when dancing the common repeat pattern is four times. S4 & S5: are done in twos, fours or eights, both forward and backwards. Either 4 fronts steps followed by 4 back steps etc. or any combination to form 8 bars Reel time: Half bar movements are combined as follows: Examples: R2 RF + R1 RF; repeat R2+R1 with LF, RF and LF (4 times in all = 4 bars). R3 RF + R1 RF; repeat R3+R1 with LF, RF and LF (4 times in all = 4 bars). R4 RF + R1 RF; repeat R4+R1 with LF, RF and LF (4 times in all = 4 bars). R5 RF + R1 RF; repeat R5+R1 with LF, RF and LF (4 times in all = 4 bars). Longer combinations can be acquired by: Examples: R2 x 3 RF + R1 RF, repeat with LF One bar steps (R7- R15) are usually repeated 4 times on alternate feet, RF, LF, RF, LF. If suitable, these, steps can be doubled up. Commonly R13-R15 are doubled up by dancing the same step twice on the one foot and the step on count 1 is then substituted by a hop. An 8 bar sequences such as RLRL RR LL can then be created as an example time: steps are combined in a similar way to strathspey and reel steps, but can be used much more freely. However some combinations are commonly in use. Examples: J1 x 6 (alternate feet) + J6 J4 RF & LF + J1 RF & LF + J6 J1 two, three, four on same foot in different combinations. J1 can be brought across as well. It may be observed that some traditional dancers do not appear to adhere to any rules at all and instead created unique patterns every time. Almost invariably these are dancers who, though vast experience and time, have developed the ability to respond to the music, adjusting each movement, step and combination as necessary to follow each change in tempo, mood or rhythm.

Basic Strathspey (4/4) S 1 Step & Hop Right foot Step Hop S 2 Step & Kick Kick fw Right foot Kick fw Step Hop S 3 Step, Step, Step & Kick Hop Right foot Step Kick fw S 4 Front Step Left foot Step X Hop Right foot Step X Hop S 5 Back Step Left foot Step X bh Hop Right foot Step X bh Hop S 6 7 Side Ste p (2 bars) (Bar 1) 3 & 4 & Left foot Step bh Step bh Step bh Step bh Right foot Step to side Step to side Step to side Step to side (Bar 2) Count 5 & 6 & 7 8 Left foot Step bh Step bh Step bh Hop Right foot Step to side Step to side Kick fw S 7 Pas de Basques Count 1 & 2 3 & 4 Step f Right foot Step f Step Step S 8 Pas de Basques on the heel Count 1 & 2 3 & 4 Step H f Right foot Step H f Step Step Basic Reel (4/4) R 1 Back step (half bar movement) Right foot Brush H out Brush in Most common is to use the heel in the shuffle (brush out followed by brush in) movement, but the toe can also be used if so desired. Note : This applies to all Reel steps on this count. R 2 Triple / Treble (half bar movement) Left foot Step Right foot Brush out Brush in Beat R 3 Toe & Toe Steps (half bar movement) Right foot Step Step R 4 Heel & Toe Steps (half bar movement) Right foot Heel Step R 5 Toe Across Steps (half bar movement) Right foot Step X Step R 6 Heel Heel Steps (half bar movement) Left foot Step Heel Right foot Heel Step R 7 Basic Hop Step Right foot Brush out Brush in Beat Beat R 8 Basic Behind Right foot Brush out Brush in Beat b Beat behind Can be back -behind or behind-back R 9 Basic in fro nt Right foot Brush out Brush in Beat X f Beat f

Basic Reel (4/4) (Continued) R 10 Basic Stamp Right foot Brush out Brush in Beat Stamp f Basic (6/8) J 1 Step Shuffle (half bar movement) Count 1 2 3 Left foot Step Right foot Brush out Brush in R 11 Basic Heel Toe Right foot Brush out Brush in Beat H Beat J 2 Step Shuffle double 5 6 Right foot Brush out Brush in Brush out Brush in R 12 Basic Toe drop heel Right foot Brush out Brush in Beat Drop H R 13 Toe Toe Shuffle & Right foot Brush out Brush in Beat Brush T out Brush in R 14 Heel Toe Shuffle & Right foot Brush out Brush in Beat Brush H out Brush in R 15 Double Heel Toe Shuffle 3 & 4 & Right foot Brush out Brush in Brush H out Brush in Brush H out Brush in J 3 Pas de Basques Count 1 3 4 Right foot Step in front J 4 Step-Step-Shuffle Count 1 3 4 5 6 Right foot Step Brush out Brush in J 5 Step & Hop & Shuffle Count 1 4 5 6 Right foot T-T shuffle J 6 Beat four Left foot Step flat Step flat Right foot Step flat Step flat

Syllabus outline Demonstrate Positions Introductory Pre-bronze Bronze Silver Gold 1 st Gold Thistle Basic Dance Demonstrate Count Strathspey Strathspey & reel 16 bars strathspey 32 bars strathspey 32 bars jig 32 bars strathspey / 32 bars reel 32 bars jig 32 bars strathspey / 32 bars reel 32 b ars strathspey / 32 bars reel 32 bars jig 32 bars strathspey / 32 bars reel 32 bars strathspey / 64 bars reel 32 bars jig Syllabus Introductory Pre-bronze Positions Positions Strathspey Parallel Heels together Wide heels together Toes together Side S 1 (Step & Hop) S 2 (Ste p & Kick) S 3 (Step, Step, Step, Kick) All the above positions plus In front Behind Forward Back All the above movements plus S4 (Front Step) S5 (Back Step) J 1 (Step & Shuffle) J 3 (Pas de Basques) 4 S1 (Step & Hop) 4 S2 (Step & Kick) 8 S3 (Step, Step, Step, Kick) 1 4 5 8 9-16 2 nd Gold Thistle 3 rd Gold Thistle 4 th Gold Thistle 32 bars strathspey / 32 bars reel 64 b ars strathspey / 64 bars reel 64 bars jig 32 bars strathspey / 32 bars reel 64 bars strathspey / 64 bars reel 64 bars strathspey / 128 bars reel 64 bars jig 32 bars strathspey / 64 bars reel 64 bars strathspey / 64 bars reel 64 bars strathspey / 128 bars reel 64 bars jig The dance must be of the specified length and to the set music -set music for the syllabus will be available to buy on CD from. The composition of the dances in these grades have not been set and are left to the discretion of the dancer (and teacher) with the proviso that the movements marked as required from relevant grade in the detailed syllabus must be included. Any of the other movements listed in the syllabus may be incorporated into the dance and personal interpretations, in-keeping with the style, are encouraged. Dancers will be expected to demonstrate certain of the movements as detailed in the syllabus and also to demonstrate an alternative method of performing (ie starting, ending or joining together) those movements. These alternative methods are not specified in this syllabus and it is hoped that dancers and teachers will build on personal experience to create these moves. Bronze Strathspey All the above movements plus S 6 (7 Side Step) S 7 (Pas de Basques) S 8 (Pas de Basques on Heel) J 2 (Double shuffle) R 1 (Back Step) R 2 (Triple) R 3 (Toe & Toe Step) R 4 (Heel & Toe Steps) 8 S2 (Step & Kick) 8 S3 (Step, Step, Step, Kick) 8 S4 (Front Step) 4 S6 (7 Side Step) 1 8 9-16 17-24 25-32 16 J1 (Step & Shuffle) 8 J3 (Pas de Basques) 16 J1 (Step & Shuffle) 8 J3 (Pas de Basques) 1 8 9 16 17 24 25-32 The dance must be of the specified length and to the set music -set music for the syllabus will be available to buy on CD from.

Syllabus (Continued) Syllabus (Continued) Silver Gold All the above movements plus R5 (Toe Across Steps) R6 (Heel Heel Steps) R7 (Basic Hop Step) R8 (Basic Behind) R9 (Basic in Front) R10 (Basic Stamp) J3 (Pas de Basques) J4 (Step- Step-Shuffle) 2 S1 (Step & Hop) 2 S2 (Step & Kick) 4 S3 (Step, Step, Step & Kick) 2 S4 (Front Step) 2 S5 (Back Step) 2 S6 (7 Side Step) 4 S7 (Pas de Basques) 4 S8 (Pas de Basques on Heel) 4 S7 (Pas de Basques) 4 S8 (Pas de Basques on Heel) Any 4 from R7 to R10 (danced 4 times each) 8 J4 (Step- Step Shuffle) 8 J3 (Pas de Basques) 8 J2 (Step Shuffle double) 8 J3 (Pas de Basques) All the above movements plus R11 (Basic Heel Toe) R12 (Basic Toe drop heel) R13 (Toe Toe Shuffle) R14 (Heel Toe Shuffle) R15 (Double Heel Toe Shuffle) J5 (Step & Hop & Shuffle) J6 (Beat four) 1 2 3 4 5 8 9 10 11 12 13 16 17 20 21 24 25 28 29-32 1 8 9 16 17 24 25 32 1 8 9 16 17 24 25-32 Required movements are R11 & R12, together with at least 4 of the Required movements a re R13 & R14, together with at least 4 of the 32 bars 1 st Gold Thistle 2 nd Gold Thistle 3 rd Gold Thistle Demonstrate & count 4 Reel movements (of the examiner s choice) from those listed in the syllabus Required movements are R9 & R10, together with at least 4 of the 32 bars Strathspey & 64 bars Reel Required movements are R8 & R11, together with at least 4 of the 32 bars Demonstrate & count 4 Reel and 4 Strathspey movements (of the examiner s choice) from those listed in the syllabus Required movements are R5 & R6, together with at least 4 of the 64 bars Strathspey & 64 bars Reel Required movements are R15, together with at least 4 of the strathspey and 8 of the reel movements from previous grades 64 bars Demonstrate & count 4 Reel, Strathspey and movements (of the examiner s choice) from those listed in th e syllabus plus 2 movements using alternative starting, ending or joining-together (of the candidate s choice) 64 bars Strathspey & 64 bars Reel 64 bars Strathspey & 128 bars Reel 64 bars The dance must be of the specified length and to the set music -set music for the syllabus will be available to buy on CD from. The composition of the dances in these grades have not been set and are left to the discretion of the dancer (and teacher) with the proviso that the movements marked as required from relevant grade in the detailed s yllabus must be included. Any of the other movements listed in the syllabus may be incorporated into the dance and personal interpretations, in-keeping with the style, are encouraged. Dancers will be expected to demonstrate certain of the movements as detailed in the syllabus and also to demonstrate an alternative method of performing (ie starting, ending or joining together) those movements. These alternative methods are not specified in this syllabus and it is hoped that dancers and teachers will build on personal experience to create these moves. The dance must be of the specified length and to the set music -set music for the syllabus will be available to buy on CD from. The composition of the dances in these grades have not been set and are left to the discretion of the dancer (and teacher) with the proviso that the movements marked as required from relevant grade in the detailed syllabus must be included. Any of the other movements listed in the syllabus may be incorporated into the dance and personal interpretations, in-keeping with the style, are encouraged..

Syllabus (Continued) Suggested further reading 4 th Gold Thistle Demonstrate & count 4 Reel, Strathspey and movements (of the examiner s choice) from those listed in the syllabus plus 4 movements using alternative starting, ending or joining- together (of the candidate s choice) 32 bars Strathspey & 64 bars Reel 64 bars Strathspey & 64 bars Reel 64 bars Strathspey & 128 bars Reel 64 bars The dance must be of the specified length and to the set music -set music for the syllabus will be available to buy on CD from. The composition of the dances in these grades have not been set and are left to the discretion of the dancer (and teacher) with the proviso that the movements marked as required from relevant grade in the detailed syllabus must be included. Any of the other movements listed in the syllabus may be incorporated into the dance and personal interpretations, in-keeping with the style, are encouraged. Dancers will be expected to demonstrate certain of the movements as detailed in the syllab us and also to demonstrate an alternative method of performing (ie starting, ending or joining together) those movements. These alternative methods are not specified in this syllabus and it is hoped that dancers and teachers will build on personal experien ce to create these moves. SCOTTISHSTEP.COM. further details as will appear on our website. BENNETT, MARGARET. The Last Stronghold. The Scottish Gaelic Traditions of Newfoundland. Breakwater Books, Canada, 1989. DONOVAN, KENNETH (Editor). The Island: New perspectives on Cape Breton history 1703-1990. Acadiansis Press, University College of Cape Breton Press, Sydney, 1990. DUNLAY, KATE & GREENBERG, DAVID. Traditional Celtic Violin Music of Cape Breton. DunGreen Music, Toronto, Ontario, Canada, 1996. MacGILLIVRAY, ALLISTER. The Cape Breton Fiddler. Sydney, Cape Breton, Nova Scotia, College of Cape Breton Press, 1981. A Cape Breton Ceilidh. Sea-Cape Music Ltd. Cape Breton, Canada, 1988. QUIGLEY, COLIN. Close to the Floor: Folk Dance in Newfoundland. Memorial University of Newfoundland. St. John s, Newfoundland, Canada, 1985. SCOTTISH ARTS COUNCIL. Scotland s Dances. A review of the 1994 Conference on the Diversity of the Scottish Traditions of Dance 25/26 October, Albert Hall, Stirling.