Scottish Country Dancer Magazine, Issue 38, Spring 2024

Editorial

While I knew full well that editing a magazine was a demanding task, I was still surprised at the complexity of managing all the components with colleagues, fellow dancers, and friends worldwide. Fiona Grant and the rest of the Editorial Team have been unfailing in their support, prompt in attending to all the editing and proofreading, and patient and kind in their guidance. My thanks to them all, and they certainly haven’t heard the last of my questions.

We are now in the second century of our Society, and this past year has been filled with celebrations, dances, parties, and cakes! The cakes! I think the British bakery business must wonder where all the commerce went. The Dancing Around the World articles and pictures share the joy and happiness of exuberant dancers.

Our significant occasion was also recognized by members of the Scottish government. A motion was presented in the UK Parliament by Alison Thewliss, MP for Glasgow Central; Chair William Williamson, Chair-elect Gary Coull, and COO Jon Berridge were invited to meet with Angus Robertson, Cabinet Secretary for External Affairs and Culture. Perhaps most remarkable of all is the kilt used at the unveiling of a commemorative Blue Plaque at the Athenaeum (now the Hard Rock Café) in Glasgow, the site of the first meeting of the Society. Christina McKelvie, former Culture Minister, enthusiastically assisted William Williamson, as you will see in the photographs. As we move forward in this new chapter, it is still important to value our heritage, to remember how it all began, and to consider how Scottish Country dancing has evolved. The proliferation of branches and clubs worldwide is impressive and speaks to the popularity and worth of our amazing pastime. The Research Group hopes to sustain interest in the early years of the Society and the dances that are still a part of our repertoire (as well as those that have fallen by the wayside). This issue has a fascinating article about John Michael Diack and his significant contributions to forming the organization.

Sustaining the health of our organization requires careful planning and work locally in our branches, by Management Committees, and Coates Crescent staff. Encouraging new members is essential, and local groups are urged to let the Management Board know what assistance and support would be most helpful. Budgets and financial matters are the responsibility of the Management Board, but it is incumbent on all of us to be informed about Trustee and Financial Reports and ask questions when necessary. International branches may feel that Coates Crescent is far removed from them and their weekly classes and events. However, there is great value in maintaining communication; the Management Board wants to hear from members and is increasing their outreach. Our modern methods of communication have shrunk the distance between us, and the digital tools we have can close the gaps; it’s important that we make them work for us.

Marjorie McLaughlin, San Diego, California

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Cover: A team dancing The Minister on the Loch in front of the Raeburn painting. Photograph RSCDS

News from Coates Crescent

Branch Anniversaries in 2024

Congratulations to the following branches who celebrate significant anniversaries this year:

Congratulations to those who received Scrolls of Honour at the 2023 AGM from the Society Chair William Williamson: Sue Duckett (Cheshire Branch), Ken Martlew (Herts and Borders Branch), Trish Nicholls (Sydney Branch), Yoshiki Oyama (Tokai Branch).

The RSCDS Scroll of Honour is awarded each year to a few individuals who have made an exceptional contribution to the RSCDS at large, often worldwide as well as locally. Nominations must come from Branches or an RSCDS management committee and be submitted by 31 March each year. A Chairman’s Panel considers each nomination and contacts those who are successful. Nominees are invited to receive their Scroll at the RSCDS AGM in November, although they may opt to receive their award locally.

https://rscds.org/get-involved/membership/member-recognition

Scroll of Honour 2023

RSCDS SUBSCRIPTIONS

Branch Delegates approved the Management Board motion at the 2023 AGM that for the year from 1 July 2024, the basic full annual subscription be increased to £28 per annum, with other membership subscriptions based pro-rata on this amount.

Board and Committee Membership for 2023-24

Following the elections at the 2023 AGM, the current membership list for the Management Board and Committees is:

Management Board:

William Williamson (Chair)

Gary Coull (Chair Elect)

Lizzy Conder (Treasurer)

Deb Lees (Convenor, Education & Training)

Angela Young (Convenor, Membership Services)

Philippa McKee (Convenor, Youth Services)

Heather Cowan, Clare Grycuk, Stephen Hartley, Helen McGinley, Fiona Miller, Andrew Nolan, Evelyn Redmond, Simon Wales, Eileen Yates (Trustees)

Education and Training Committee

Deb Lees (Convenor, Education & Training)

Jim Stott (Schools Director)

ChairWilliamWilliamson presented scrolls to Ken Martlew (Herts and Borders Branch),andYoshiki Oyama,(Tokai Branch).

Chair-elect Gary Coull (left) presented the award toTrish Nicholls (Sydney Branch).

Ellie Briscoe, Graham Donald, Amy Drysdale, Eilidh Garden, David Hall, Gail Inglis, Lorna Valentine (Members)

Membership Services Committee

Angela Young (Convenor)

Jeremy Hill (Convenor Elect)

Luke Brady (Music Director)

Julia Grainger, Andrew Smith. (Members)

Youth Services Committee

Philippa McKee (Convenor)

Linda Williamson (Convenor Elect)

Beth Fairbairn, Zoe Hill, Shona MacFadyen, Sarah Oswald, Lucy Phillips (Members).

You can find out more about the Management Board and Committee members online at: https://www.rscds.org/about/people.

Vacancies and appointments in 2024

The Management Board, committee and working group vacancies due to be filled at the AGM this November are as follows:

Management Board: Chair Elect (for 2 years+ 2 years as Chair), Trustees 3 (for 3 years),

Membership Services: 2 (for 3 years), 2 (for 2 years), 2 (for 1 year)

Education & Training: Convener-Elect (for 1 year + 3 years as Convenor), 3 (for 3 years), 1 (for 2 years)

Youth Services: 2 (for 3 years)

Nomination forms are available on the website: https://www.rscds.org/about/governance/management-boardcommittees. In addition to completing the form, members must submit a profile outlining the skills and attributes they have to offer. Guidelines on the reverse of the form give an indication of what should be included, but those considering standing for election are strongly advised to read the role descriptions for Board and Committee members. Please contact info@rscds.org if you have any questions. Nomination forms, profiles, and photos should be sent to Coates Crescent by Saturday 7 September 2024.

Deadline for AGM motions:

Motions from Branches to the AGM in November should be sent to Coates Crescent by Saturday 10 August 2024.

AGM 2023 MOTION RESULTS

Motions updating the Articles of Association and Rules and Procedures were also passed.

The membership numbers will be published in the annual accounts. Headquarter Membership has been renamed Coates Crescent Membership.

RSCDS TEACHING QUALIFICATIONS

Congratulations to our newly qualified teachers. We wish them all immense fun and success in their teaching career. Are you interested in teaching? Visit: https://rscds.org/learn/teacher-training

The Unit 1 Exam dates for 2024 and 2025 are:

12 October 2024 • 1 March 2025 • 11 October 2025

Please email examhelp@rscds.org if you are interested in applying for Unit 1 or any of the other E&T courses, including the Core Training for Instructors (CTI) programme. You can find more information about teaching Scottish country dancing on the Learn section of the website.

MEMBERSHIP NEWS

RSCDS Branches: 160 Branches present in the UK and 33 countries. Once again, we are grateful to all our members and their dedication to their branches. We invite you to renew or re-join if you have not done so and support your local Branch in your community.

Affiliated Groups:

In 2023/24, 238 groups worldwide have renewed their affiliation with the RSCDS. This year, we would like to welcome the following newly affiliated groups:

Kalamazoo Scottish Country Dancers (USA)

The Tokyo Scottish Bluebell Club (Japan)

Saltire Scottish Country Dancers (UK/International)

St Andrews Group of Paphos (Cyprus)

RSCDS AND THE SCOTTISH GOVERNMENT

RSCDS Chair William Williamson, Chair-Elect Gary Coull and Chief Operating Officer Jon Berridge were invited to the Scottish Parliament to meet with Angus Robertson, Cabinet Secretary for Constitution, External Affairs and Culture. Mr Robertson was keen to explore ways the Scottish Government and the RSCDS might work together to engage with Scotland’s diaspora abroad. It was a very positive meeting which we hope will be the first of many. The Scottish diaspora used to be estimated at around 40 million people worldwide who had a family connection with Scotland. The government recently redefined the diaspora along similar lines to Ireland, and now include people who have lived or studied in Scotland and anyone with an interest in Scotland or Scottish Culture.

The RSCDS has been invited to participate in the Scottish Government’s new Directory that provides information and contact details of Scottish organisations around the world. Any RSCDS branch that would like to be included in this directory can do so by adding their branch details to the directory.

https://www.scotland.org/about-scotland/our-global-community

Convenor of MS Committee msc@rscds.org

Convenor of E&T Committee eandt@rscds.org

Convenor of YS Committee ysc@rscds.org

Office Staff info@rscds.org

By post: 12 Coates Crescent, Edinburgh, EH3 7AF. All correspondence will be forwarded to the appropriate person.

Left to Right: Gary Coull,Angus Robertson,WilliamWilliamson, and Jon Berridge

From the Chair

William Williamson

It is my pleasure to welcome you to the first edition of the Scottish Country Dancer magazine in the second century for the RSCDS, and indeed to welcome a new editor, Marjorie McLaughlin.

As you will read in the following reports, our committees and working groups are engaged in a great deal of good work to ensure that there is help and support for members, branches and groups. Aspects of the work will include promoting the health benefits of dance, creating new opportunities for specific groups, and encouraging branches to test new ideas in their local areas. In this fastchanging and competitive world a communication review, for example, is underway to look at how we all receive information about the RSCDS as valued members of our very special ‘International family’.

Recently, my wife Linda and I enjoyed the Scottish delicacy of fish and chips, which was washed down with two cans of a well known soft drink! The bill came to £26, a familiar sum I thought, the cost of my annual membership subscription to the RSCDS.

Reflecting on my own access to available resources as a member, I often visit the website, read and even look back on issues of Dance Scottish at Home and the Scottish Country Dancer, check out the social media posts, look at the training materials available, listen to podcasts etc. The various communication channels offer a vast amount of information on branches, the archive, music courses, dance workshops, days of dance, publications, events and support materials for branches and groups. The RSCDS also provides a network around the world and the opportunity for members to engage with other dancers, musicians and teachers’ associations.

. . . move forward into the second century of the Society with enthusiasm, excitement, and renewed energy

The Management Board met recently and remains very focused on supporting members, branches and groups, with individual members recently commenting on the positive support offered through their Management Board representatives. Our dedicated staff at Coates Crescent are also ready to help in any way they can, so do contact them or even visit if you are in Edinburgh.

It is my sincere wish that as members of the RSCDS, whether dancers, musicians, volunteers or staff at Coates Crescent, we will move forward into the second century of the Society with enthusiasm, excitement and renewed energy.

More importantly, what does the RSCDS give me? It gives me the very best of friends and that must be worth two fish suppers any day!

All the best.

Membership Services

Angela Young

For the the Membership Services Committee, November saw a changeover of volunteers as we thanked Ainslie Dunnett, Emily Hall, Gail Inglis, and Keith Rose for the contributions they had made throughout their term of office and welcomed three co-opted members: Debbie Crossley, Paul McKnight, and Beatrix Wepner.

The new team met, quickly setting out plans for the next 12 months and beyond – looking to build on the success of Book 53 for 2023, to continue delivering new recordings, to research and deliver a digital plan for the future, as well as to finalise the new Members’ Pack.

First out of our projects is Dance Around the World - taking dancers on a journey from Scotland around the world and back. The aim is to create a global dance event on Saturday, 23rd November when we will mark one year since the RSCDS Centenary. We will be encouraging everyone to dance one, some, or all of the dances from the ‘Dance Around the World’ selection. Over 24 hours, we want you to share photos, videos, and stories, building an event that all dancers can take part in; in your back garden, kitchen or at a larger organised event. We hope that branches that already have dances planned for this date can include some of the selections.

The committee is revisiting all dances submitted for Book 53 as we look forward to a companion volume in 2025.

The committee decided on 12 dances with connections to 6 continents through devisers, themes, and locations. The dance choices give the opportunity to highlight some old favourites, revisit previous publications, include basic RSCDS formations and give a good mix that newer dancers can also enjoy.

And we are looking forward to being back in the studio with Colin Dewar and his Scottish Dance Band to create new recordings of our ‘Dance Around the World’ programme. Look out for dance announcements, zoom launches to share background information, a digital booklet, and plans on how to be part of the 24-hour global event.

Currently, the committee is revisiting all dances submitted for Book 53 as we look forward to producing a companion volume in 2025 – Book 54. Appreciating just how much work branches and affiliated groups put into the submissions and trials for Book 53, all feedback, comments, and marks will again be considered.

Thanks to all branches, groups, and members who submitted centenary photos of their 2023 highlights. The committee is exploring how these can be shared as widely as possible through online galleries, which everyone can enjoy.

Responding to feedback, high on this year’s MS agenda is delivering a digital plan for our books and recordings. We are researching how digital releases can be managed on different platforms, potential benefits, and how to make these easily accessible. We look forward to sharing our thoughts soon. If any members do have relevant digital knowledge or experience in using online publication platforms, please get in touch by email at msc@rscds.org or info@rscds.org – we’d love to hear from you.

Education and Training

Deb Lees

We have had a fantastic year of dancing with the many Centenary and other events that have kept us all busy in our local branches and beyond. Thanks to all the organisers and to the teachers and instructors who prepare their dancers to attend events, giving them the confidence to join in.

It has been very exciting to hear of branches starting new classes and groups aimed at beginners and less experienced dancers and organising social dances that are accessible and enjoyable for everyone. We have introduced a dance grading system at our Summer and Winter Schools to help dancers decide which dances are suitable for them. Feedback so far has been very positive and we plan to continue using it at future events.

As I am writing this, we are looking forward to Winter School in beautiful Pitlochry with a fantastic line-up of teachers and musicians, led by Fiona Mackie as Winter School Coordinator. Next year, Ian Robertson will take on that role, and he will be delighted to welcome you, whether for the first time or as a regular attendee. Sue Porter and Moira Thomson have Summer School preparations well underway and we hope to see many of you there to enjoy the very special atmosphere of St Andrews. This year, we will be running Tutor training courses at both the RSCDS and TAC Summer Schools for anyone interested in training our prospective teachers for their Certificate exams. You can find details on the RSCDS website.

This year, we will be running Tutor training courses at both the RSCDS and TAC Summer Schools .

Continuing Teacher Development is a core part of the E&T work, with regular Teachers Newsletters and the Virtual Teachers Conference now an annual event each February. Many teachers already receive emails directly from us about events such as the VTC. If you don’t and would like to receive information relevant to anyone teaching a class or group, then do get in contact to get added to the distribution list. Many thanks to the Teachers’ Associations who have created video presentations for the VTC and who make such a valuable contribution to the ongoing support and development of our teachers and class leaders. We really do need to encourage more people to consider teaching, whether that be helping out occasionally with their local group, taking on an existing group, or even starting a new one. At present, there are three options on offer from the RSCDS: the Teaching Certificate, the Core Training for Instructors programme, and Basic Teaching Skills courses. We are planning a review of our teacher training as we want to make it as accessible, relevant, and achievable as we can to encourage and support dancers to develop teaching skills in whatever context is most appropriate for them. Don’t forget that the most recent information on all our training courses and assessments, including the Medal Tests and Dancing Achievement Awards, is all on the RSCDS website. Have a look to see what is on offer. https://rscds.org/learn If you are planning to apply for any of the courses or assessments, do make sure that you use the most recent paperwork from the website as there have been a number of updates over the past few years.

Youth Services

Philippa McKee

Last time I wrote, we were eagerly awaiting contributions from far and wide for the Virtual Festival for 2023.

The theme for the year was ‘Dance Through the Decades,’ and it is safe to say you exceeded all expectations - it was incredible to see the creativity and ingenuity of so many participants. We received 11 submissions from around the world. Our judges scrutinised the entries and awarded scores across various categories. Judges’ Favourite went to the Central Germany Branch along with People’s Choice, Dance Through the Decades, and the Overall Winner. SCD Basel was the winner of the Creative category. Special Commendations went to Oxford University Scottish Dance Society, Budapest Scottish Dance Club, and Toronto Association. If you follow us on social media, you may have seen photos of the Central Germany Branch in receipt of their trophy. Thanks to our judges, all participants, staff, and committee members for supporting this initiative.

This year, the launch of the Virtual Festival will coincide with Cambridge Spring Fling weekend, with a closing date in October and winners announced at the Autumn Gathering weekend in November. We hope that this structure gives everyone plenty of time to consider entering and to come up with fun and creative ways to meet the brief.

We continue to work on guidance documents, building on the work of previous organisers to help a smooth transition as committees develop and personnel changes. These include guidance for Spring Fling and Junior Summer Camp and will form a handover document for the committee and local organisers.

Look for details ofYouth Services work in the magazine,Branch Mailings,Dance ScottishTogether,and on social media.

We look forward to a closer relationship with the Scottish Schools Working Group as we work alongside the Education and Training Committee on this.

Parents of young dancers can find out more about junior membership here: https://rscds.org/get-involved/young-dancers/ join-young-dancers

We are very grateful for the support we have had from the Coates Crescent staff. We are so lucky to have their creative input, the support they provide, and the time they put towards these projects. Please look out for details of Youth Services work in the magazine, Branch Mailings, Dance Scottish Together, and on social media.

At the Autumn Gathering in Glasgow, we hosted a Youth Forum and had lively debate from all those attending. It was so helpful and insightful to hear the views of dancers from home and abroad on what Youth Services can do to better serve the young membership across the whole age range.

We were joined at this year’s AGM by Beth Fairburn and Lucy Phillips; we are pleased to welcome them to our committee. Linda Williamson is our Convenor-elect and has been doing a huge amount of work on the aforementioned projects. We have also been able to offer a co-opted position to Elisabeth Witter and so welcome also to her. We look forward to a productive and progressive year ahead.

Please get in touch regarding this or any other matters relating to young dancers and musicians by emailing ysc@rscds.org

How do we get more people playing for Scottish Dance Classes?

Luke Brady is currently Music Director for the RSCDS, and his band has played for many Scottish dance events in recent years. He has produced a recording for Miss Milligan’s Miscellany and several For Take Your Partners . . . Here, he explores why musicians play for SCD and how to encourage and support them.

Why does someone decide to learn a musical instrument? Many do so in their formative school years, but the trombone, violin, or cello often fades with the onset of teenage hormones, acne, and a changing sense of what is socially acceptable.

To start with, remember that your class musician, indeed any musician, is remarkable. They have bucked the social trend and demonstrated a level of discipline and maturity that is already far too rare today. Now, ask yourself how many of those musicians’ desire to specialise in Scottish traditional music. The already low number cascades downwards! In other words, the musician on your stage, in your class, or playing through your sound system is precious beyond measure.

Now, put yourself in the mindset of that traditional Scottish musician. They have spent years honing their skills, learning the styles, experiencing different techniques and above all, practising, practising, practising.

Do you imagine many of those musicians did so because they desired to play for Scottish country dance? Do you imagine they yearned to be responsive to a ‘Ready ... and’ and stopped mid-tune due to a wayward reel of three? Do you reckon they longed to perform when tunes, barring, and tempo are defined by a dancer with (usually) very limited musical experience? The answer, with I’m sure very few exceptions, is a resounding no.

Please do not think that I mean to say that playing for classes isn’t enjoyable. I love them! I’m sure any musicians reading this

enjoy them as well, and I don’t mean to suggest criticism of the class environment. It’s simply that, as Music Director, I am often asked why more musicians don’t want to play for Scottish country dance classes. I use the above as a form of explanation.

So, having identified that problem and perhaps the cause, we can turn to ways to fix it.

First of all, remember the style of the Scottish dance class. Either by accident or design, it emulates the format of the local ballet school. It has very little in common with the jazz, tap, salsa, or Zumba class. If your town, village, or city has a ballet class with live music, start your search for your next musician there. They are already used to much of the setup of a dance class and should be a competent player. It will take time for them to adapt to the style of the music – to become less classical and more ‘Scottish,’ but isn’t that a fabulous opportunity for socialisation and inclusion of the musician: ‘Here, listen to this?’ ‘Have you ever heard….? They are playing here at the weekend!’

That being said, ballet classes are struggling to find musicians as well, for many of the same reasons as the local SCD class. It is simply not what a musician tends to learn their instrument for!

If this means your search of the local dance directory proves to be in vain, then try your local amateur dramatic organisation. They may have a rehearsal pianist who will be both competent and used to some of the classroom restrictions.

You will notice I haven’t guided you towards existing Scottish

Luke Brady and his Scottish Dance Band

musicians – ceilidh bands, courses, sessions, or festivals. The truth is that these individuals have already found something that they love in their music. To them, a dance class is often a trying, slow-paced, and extremely restrictive place for something that they love to do. They’ve already found what they love, and it’s not us. Changing an established Scottish musician’s mind on this may take time, effort, tact, compromise, and money. If you have a candidate for it, though – go for it!

Of course, there are areas that I have skirted over – payment, demands and ability level of class, experience of the teacher, as well as I’m sure, many others. This is because these vary so wildly across the globe. Readers should, therefore, feel free to simply disregard the bits of this discussion that don’t apply to them, but I think the general commentary on how and why a musician plays is universally valid.

What about bands for social dancing?

Enough of the classes! My own belief is that the soul of Scottish dancing does not lie with the teachers or in the dance classes, and it certainly has absolutely nothing to do with technical precision, competition, or demonstration of the step or the dance. No, the heart of the RSCDS is on the floor at a social dance. The magic lies from the striking of the introductory note, through leading your partner onto the floor, cascading through the anticipation of the recap, and launching out of a respectful bow and curtsey into the revelry of the dance … with the music. For a second, spare a thought for that band playing for social dancing. The truth is they have the hardest job in the entire music industry. Musicians usually decide what they play; SCD bands do not. Musicians usually decide the order in which they play their material; SCD Bands do not. Musicians normally directly communicate with the audience to build a rapport and connection between songs or tunes, SCD Bands do not. Musicians usually have the undivided attention of the audience in front of them; SCD musicians do not. Thinking about it that way, consider the number of times a Scottish dance band has made your evening magical. With those restrictions, it’s actually nothing short of miraculous, and I doubt the musicians at the Proms or Glastonbury Festival could have done the same. It’s these restrictions that make Scottish musicians with established ceilidh bands quite reluctant to play for Scottish dance events where they do not already. Overcoming this takes a lot of coaxing, compromise, and support. It may even take a completely new approach to the writing of a programme and organising your annual events.

I’ve had the great fortune to spend many years at Summer School talking to a variety of musicians from across the globe and to have spent almost 20 years running a band up and down the UK as well as various trips abroad. In those twenty years, there are still several places, dance groups, and RSCDS branches within the UK, indeed even Scotland within an hour’s drive, that I have never played for. The same can be said for every Scottish dance band musician that I have ever met. Perhaps, in addition to expanding the pool of Scottish dance bands, we should also look to our existing bands that we may have overlooked.

It’s easy to see how it happens. Perhaps local musicians are cheaper, and your choice is limited. Perhaps you know that the established band you had last year will bring in a big crowd, and your branch wants to ensure success. I understand that, and I sympathise. There can also be great excitement and anticipation for hearing and dancing to something new.

The Music Director’s Challenge

As we exit the centenary year, we have the opportunity to renew ourselves as an organisation, and this applies to our music as well. I, therefore, have a challenge for every RSCDS branch and group that has a committee member reading this. Set aside one dance event next year and commit to booking a band or musician that your group has never booked before.

In Scotland and the UK at large, this is easier. There are more bands, and a glance down the online dance diaries will reveal names you don’t recognise. Find a recording of the musician, check YouTube, or, even better, take a quick journey to a new branch to hear them play. If you liked what you heard … book them on the spot!

Abroad, the challenge is much trickier, I know. There are fewer musicians per mile, and the cost of bringing one to you can be quite extreme. To you, I suggest ‘buddying up.’ Can three or four groups bring a single musician for a one-off workshop and dance? Do you know that someone will be in the area for another reason and might be able to play for you as well? Could you afford one musician as opposed to a full band? Could you arrange a small tour of three or four branches across a week to make the travel costs more manageable? I have always found members of the international SCD community some of the most industrious and ingenious of our members. Despite these challenges and logistical issues, wouldn’t it be a marvellous thing to say at the end of the first year of our second century that every RSCDS member had the opportunity to dance to someone new and exciting? New experiences for a new century.

Kim

David

UK Parliament marks RSCDS Centenary

Motion submitted by Alison

Thewliss,

MP for Glasgow Central

That this House celebrates the centenary of the Royal Scottish Country Dance Society (RSCDS); notes that the RSCDS was founded on 26 November 1923 in what is now the Hard Rock Cafe, formerly the Athenaeum, on Buchanan Street in Glasgow; appreciates that the RSCDS aims to grow a vibrant worldwide community of Scottish dance and music through local organisations who teach and encourage participation in Scottish country dancing; notes that the RSCDS has 160 branches in Scotland and around the world, including in Australia, Austria, Canada, England, France, Germany, Italy, Japan, Northern Ireland, the Netherlands, New Zealand, Russia, South Africa, Sweden, the US and Wales, as well as 235

The Glasgow Centenary

Alongside the celebrations for the Society’s Centenary, during 2023, the Glasgow Branch has also been marking its first 100 years. It was honoured to host the RSCDS Ceilidh at Celtic Connections in January, the Autumn Gathering, and the Blue Plaque unveiling in November. Our own Branch celebrations have included publishing the Centenary Dance Book, which was reviewed in the Autumn 2023 edition of Scottish Country Dancer, and some dances that were demonstrated at the Autumn Gathering. Also, a Civic Reception and Ball in Glasgow City Chambers, hosted by the Lord Provost, and an afternoon tea with entertainment for senior members at the House for an Art Lover on St Andrew’s Day. As a postscript, to mark the Centenary, the Lord Provost has kindly invited the 2024 Primary Schools Day of Dance to be held in the City Chambers. As our celebrations to mark the first hundred years of Glasgow Branch draw to a close, we look forward to building on the legacy of the past.

Glasgow Branch dancers and friends enjoying a civic reception and ball in Glasgow City Chambers

affiliated groups which include Dundee, Cambridge, St Andrews, Edinburgh and Oxford universities; acknowledges that the RSCDS also publishes dance books and recording music, creating an archive for the future as well as providing valuable resources to those dancing today; is

grateful to the initial founders Mrs Ysobel Stewart, Mr Michael Diack and Miss Jean Milligan for their work in ensuring Scottish country dancing has continued to thrive 100 years after their initial meeting; and wishes all involved in the RSCDS the very best for the future.

A tribute left at Miss Milligan’s gravesite on 23 November 2023

Christina McKelvie,former UK Parliament Culture Minister,enthusiastically assisted Chair Williamson in unveiling a commemorative Blue Plaque at theAthenaeum (now the Hard Rock Café) in Glasgow.The Society’s first meeting was held there on 26 November 1923.

AlisonThewliss MP

How to organise a flashmob –Glasgow style!

The events held in Glasgow to mark the Centenary of the Society and Glasgow Branch, included the unveiling of a Blue Plaque outside the Old Athenaeum (now Hard Rock Café) where the first meeting of the Society took place on 26 November 1923. This was followed by a wonderful and spontaneous performance of The Dashing White Sergeant danced by members of the Glasgow Branch, linked groups, and other branches, and passing members of the public. Anne Murray, of the Glasgow Branch, organised this remarkable event.

My role was to gather volunteers to participate in this flashmob and organise them into sets. A daunting task! Inviting people to dance outside at the end of November, in Scotland, on a sloping Buchanan Street is hardly an enticing prospect. (We asked Buchanan Galleries if we could have the dancing there to guard against bad weather and the slope danger of the street itself - unsuccessfully.) I started by asking dancers at the two classes I attend each week. Despite my enthusiasm, I wasn’t exactly knocked down in the rush by volunteers. I then emailed teachers of current Glasgow Branch classes and contacts of linked groups, hoping they would encourage class members to volunteer. Gradually, numbers increased but with only two weeks to go it was hardly a flashmob. Helpfully, Coates Crescent sent out an email invitation to participate in this venture to Society members, which resulted in dancers from other branches, including Aberdeen and Belfast, expressing interest.

Now that I had dancers, how would I organise the practicalities of the day including what to wear and formation of sets? I am grateful to Peter Knapman for his useful advice, which focussed on making this a fun event for participants and non-dancing supporters. Volunteers were asked to arrive in groups of three or six, if possible, so there was less organising to do on the day. Individuals would be assigned to incomplete sets. There would be no practice.

Another issue to be considered was what would happen if it was raining as our accordionist, Màrtainn Skene, would not be able to play outside. A PA system was arranged for the plaque unveiling, so I hoped we could use that if Màrtainn had to play inside and amplify the music from there.

About two days before the event, we were advised of another event going on in Glasgow city centre at the same time as ours. The Style Mile Carnival, involving performances by small groups of dancers and singers, would be held in various locations on Buchanan Street during the afternoon of Sunday, 26 November. It was too late to do anything about this, so we would just have to cope with situations as they arose on the day.

The anniversary day dawned, and, to my relief, it was dry. With a sense of trepidation but anticipation, too, I made my way into Glasgow and onto Buchanan Street, to be met by two giant robins and an oversized post box (a selfie spot set up as part of the Style Mile Carnival) outside the entrance to Hard Rock Café – exactly where we planned to have our flashmob. I explained what would be happening there at 2.30 pm to the steward on duty and she informed me that a dance performance by the ‘Blue Snowflakes’ was planned at the same time to take place in front of the giant robins! Thankfully, on consulting her supervisor, it was agreed that the snowflakes would stop dancing

to make way for our event. Now, all I had to do was wait for the flashmob dancers to arrive. As the allotted time for the unveiling of the plaque approached, the small groups of volunteers and Branch supporters who came along on the day gradually grew into a substantial crowd, and I could breathe a sigh of relief. When the unveiling party emerged from the Hard Rock Café, the Blue Snowflakes paused their performance to allow the ceremony to take place as planned.

Màrtainn then prepared to play and Chair William Williamson, announced “Ladies and gentlemen, take your partners for a Dashing White Sergeant”. Immediately, Buchanan Street was filled with the uplifting sound of Scottish dance music and sets of happy dancers. A large crowd of onlookers gathered, a good number of whom joined in – I even saw a man dancing with his dog (how Glasgow)! All too soon our flashmob was over and everyone left feeling that they had participated in something really special and that it was a fitting way to end our anniversary weekend.

All this couldn’t have taken place without the support of the dancers from Glasgow and beyond who turned out to take part and provide moral support; Màrtainn Skene our accordionist; Peter Knapman for his encouragement and advice; and many others too numerous to mention –my grateful thanks to you all.

John Michael Diackour forgotten co-founder

Over the past 100 years many thousands of people have contributed to the success of the RSCDS. The contribution of Ysobel Stewart and Jean Milligan is recognised and well documented. Michael Diack, who was heavily involved right from the start, has been largely overlooked. In this article Jimmie Hill of the Research Group sheds more light on this most remarkable man.

John Michael Diack

The Inaugural Meeting

There has always been a certain mystery surrounding the Inaugural Meeting of the Scottish Country Dance Society in central Glasgow on Monday 26 November 1923. Why was the meeting only advertised on the morning of the meeting itself and only in the Glasgow Herald? 27 people attended, and a further 23 sent in apologies, but the advert did not give any details about how to send in apologies, so those 23 had clearly been contacted in advance. If it had been advertised on the previous Saturday, many more interested parties could have been present. There were certainly dance teachers in Edinburgh, Perth, Dundee, Greenock, and Ayr teaching Scottish dances as well as the itinerant ‘dancies’. Very significantly, Mr Ion Jamieson of Langshaw, who had been interested in the country dance tradition since at least 1920, was not present. Nor was Donald Mackenzie of Stirling who, in 1910, had published his Illustrated Guide to the National Dances of Scotland and who, as early as 1921, had been in correspondence with Ysobel Stewart. Contrary to accepted belief, the majority of those who did attend did not come as a result of the newspaper advert –they were either students or friends of Jean Milligan.

The first publisher

When Mrs Stewart first had the idea of a book of Scottish country dances, Michael Diack was the obvious person to approach. He was Managing Director of the foremost Scottish

music publishing company, Patersons. He was aware of Jean Milligan’s work with teachers, and we have him to thank for bringing the two ladies together.

The idea of forming a society

Where did the idea of forming a country dance Society come from? In 1952 Mrs Stewart wrote to Miss Muriel Hadden that she first had the idea for a book of country dances ‘when walking along Princes Street’ in Edinburgh. When Mrs Stewart showed Michael Diack her ideas, she reported that ‘he hailed it with joy’. Michael Diack then arranged a meeting with Jean Milligan and Ysobel Stewart, who reported that ‘she and I danced while Mr Diack played in his small music room.’ It was then that the three of them decided that it would be best to form a Society ‘so that the book might be backed by a wider group of people, and that the Education authorities and Musical Festivals should be interested.’

The contribution of John Michael Diack

1. Organising the Inaugural Meeting

Not only did Michael Diack introduce Mrs Stewart and Jean Milligan, he organised the Inaugural Meeting at the Athenaeum School of Music. By 1923 he was no longer teaching there, but would still have had contacts. His friend, Francis Bisset, Chairman of the Federation of Music Festivals, chaired the meeting.

2. Setting up the Society

Michael Diack and Francis Bisset brought to the meeting their experience of setting up a Society from scratch. In 1906 they were the joint founders of the Glasgow Bach Choir. At that first meeting it was Francis Bisset who proposed the founding of the Society and laid out its possible aims and objectives. The early meetings of both the Executive Committee and the early AGMs were held in Michael Diack’s very substantial premises at 152 Buchanan Street.

3. Publishing Books and arranging music

Michael Diack proposed the formation of a committee whose first duty would be to publish 12 dances. As a brilliant pianist and Professor of Pianoforte, Michael Diack effectively acted as our first Music Director in arranging the music for the dances in Books 1 – 5. In December 1924 the first sub-committee for music was formed with Diack on it. As Managing Director of Patersons, Michael Diack was perfectly placed to arrange all publishing for the Society. At the meeting of 25 March 1924 it was agreed that ‘Patersons undertake the entire cost of publishing, printing, distributing and advertising’ the first books. This agreement lasted until 1929.

4. Teachers Examinations and Summer School

It was Michael Diack who proposed that there should be an examination for teachers of country dancing and he, Jean Milligan and Ysobel Stewart were the first examining board. By November 1924, 36 candidates had passed a teaching certificate. At the executive meeting on 30 October 1925 the idea of a ‘conference’ was proposed – by Michael Diack. Out of this grew the first Summer School in St Andrews in August 1927.

5. The first Manual

Michael Diack’s friend, Francis Bisset, as Head of the Music Festivals in Glasgow and Edinburgh, was also the editor of Patersons’ series of booklets for teachers entering teams. Jean Milligan was asked to write a booklet for country dance teachers. This small 16-page booklet is the first attempt in the history of the Society at a manual for teachers. It was published by Patersons and sent to all Society members. The Scottish Music Festivals were important annual competitive events in many Scottish towns and cities, aimed at both children and adults. In 1923 competitions were held for choirs, solo singing, action songs, Hebridean and Scots song, elocution, violin, and piano. Scottish country dancing was added as a direct result of the formation of the SCDS.

6. The first Recordings

Recording of music was at that time in its infancy. It was Michael Diack who arranged for the Scottish record company, Beltona, to make the Society’s first recordings. He organised the recordings in London with an orchestra consisting of violins, trumpet, piccolo, flute, bass, and drums. These were the first ‘strict tempo’ recordings of Scottish country dance music.

7. Glasgow Branch Chairman

Michael Diack was also a social dancer. On top of all his work for the early Society, he was the chairman of Glasgow Branch from its inception until 1928.

Who was Michael Diack?

There is no question that Michael Diack was the most multitalented and distinguished of all our founders. His father was an Aberdonian and his mother was from Stonehaven. When they got married, they set up home in Glasgow where Mrs Diack, unusual for a woman at that time, set up in business as a children’s outfitters in the famous Argyle Arcade off Argyle Street. Born in 1869, Michael was the second of seven children. He was a man with several parallel careers and he excelled in

each. From 1895 until 1920 he was the Professor of Pianoforte and Accompaniment at the Athenaeum School of Music, today the Royal Conservatoire of Scotland. For four of those years he was also Professor of Choral and Operatic Classes. At the same time, he was Managing Director of the music publisher, Patersons, with offices and a large shop in Glasgow and branches in several Scottish towns. He also worked for Dunbartonshire Educational Authority as Supervisor of Singing in Schools. So not only was he a music teacher at the highest level, he was heavily involved with music in schools: Class Singing Master in 1912 at New Kilpatrick Higher Grade School; and by 1921 Musical Director of schools in New Kilpatrick. He also served as organist in various Glasgow churches.

Glasgow Bach Choir

In 1906 Michael Diack founded the Glasgow Bach Choir with his friend Francis Bisset. This was part of a nationwide movement to perform and promote the choral works of J.S. Bach. In 1907 he conducted the opening concert of the choir in a ‘packed’ Glasgow Cathedral. He conducted the St Matthew Passion, the St John Passion, the Christmas Oratorio, and the Magnificat, as well as many of the Bach Cantatas and Motets in some of Scotland’s greatest churches – Glasgow Cathedral, St Mary’s Cathedral, Paisley Abbey, and Dunblane Cathedral. Diack was a dynamic organiser, experienced at arranging and running large-scale events.

Arranger, Composer, and author

Michael Diack was, above all, a noted composer and arranger of music. Apart from arranging classical music such as Bach, he arranged and published collections of Scottish and Irish Folk Songs as well as music for schools and for amateur choirs. One newspaper article credited him with having single-handedly revived choral singing throughout the country. On a lighter note, he became well known for arranging nursery rhymes in the style of Handel and Mozart. His SingaSongofSixpence and Old Mother Hubbard can be found on Youtube! He also composed simple operettas for use in schools. One was based on Mozart’s Magic Flute. His works also included books on piano playing, singing and voice production. Many of his arrangements still form part of the choral repertoire to this day.

Continued on page 14

Paterson’s Festival Booklet

Broadcasting

The first radio service in Scotland was launched by the BBC in March 1923. Michael Diack was a regular broadcaster. His name appears throughout the 1920s conducting concerts for radio and as a presenter of music programmes for schools. In a recital by the Glasgow Bach Choir in 1925 we find his daughter Nancy singing a soprano solo, and at a concert in 1926 Michael Diack and Francis Bisset are joint conductors with Michael Diack Junior and Mrs Bisset as second violins.

Charles Rennie Mackintosh

Michael Diack was heavily involved in the musical and cultural life of Glasgow. We know from concert programmes that he knew Marjorie Kennedy Fraser, the famous collector of Gaelic songs. He is listed in The Times as attending her memorial service at St Martin’s-in-the-Fields in 1930 along with her nephew Douglas Kennedy, who succeeded Cecil Sharp as Director of the English Folk Dance Society. He was also a friend of the eminent businessman William Davidson, a patron of Scotland’s most famous architect, Charles Rennie Mackintosh. Davidson’s home, Windyhill in Kilmacolm, was one of the few houses Mackintosh completed. We know that Michael Diack commissioned Rennie Mackintosh to design a desk for his home. That desk is now on display in the Mackintosh House, part of the Hunterian Museum in Glasgow University.

Move to London

At the age of 60, Michael Diack and his family moved south in 1929 where he took up the role of Managing Director of the London office of Patersons. Here is a contemporary Glasgow newspaper report:

‘The Diacks Departing’.

‘The musical world of Glasgow will be severely hit within the next few weeks by the departure of the Diacks – père et filsfor London. Mr Michael Diack Jun. acted as honorary conductor of the University Orchestral Society and his father has been a well-known figure in musical circles in Glasgow for over 30 years.They reside at Garwhitter, Milngavie.’ Diack’s son, Michael, followed him into Patersons as a Director. The whole family was musical. Michael Junior was a friend of the famous English composer, Malcolm Arnold, who dedicated his Tam o’ Shanter Overture to him, and Michael’s grandson, James, became a distinguished French Horn player, and his granddaughter, Fiona, a violinist. Michael Diack died

in London in 1946. His obituary appeared, appropriately for an educationalist, in Music in Education. He was described as ‘a many-sided musician’, ‘a real loss to the interests of musical education’, ‘a magnetic personality’, ‘a brilliant pianist’, ‘an authority on Scottish and Irish folk songs’, and a man of ‘innate modesty, almost childlike frankness, spontaneous bubbling gaiety, and abounding generosity of spirit, of a whimsical turn of mind and with a vivid sense of humour.’ His son Michael is on record as saying that ‘anything in the way of self-advertisement was alien to his nature.’ This may be one of the reasons we know so little about his contribution to country dancing.

Our link to the past

The great-grandson of Michael Diack, John Hutchinson, is a member of the Glasgow Branch. His grandmother was Agnes (known as Nancy) Diack, Michael Diack’s daughter. He remembers she was a very musical lady with music playing a very significant part of their life.

Co-founder

We have become used to the term ‘co-founder’ to describe Jean Milligan and Ysobel Stewart. Indeed, the word is carved in stone on the plaque outside 12 Coates Crescent. Up until the 1940s all those present at the inaugural meeting were described as ‘founders’. In Press reports, Mrs Stewart was consistently referred to as ‘the founder’ of the SCDS. She moved to South Africa in 1955, leaving Jean Milligan to dominate the Society until her death in 1978. By continuing to use the term ‘cofounder’ for the two ladies, we ignore the contributions of the other founders. In particular, we have never given Michael Diack his true place in our early history. Without him the Society might not have existed. He was instrumental in the formation of our Society and played a very significant role in our early development. He rightly deserves to be called one of our co-founders.

With grateful thanks to John Hutchinson, Alan Macpherson, the Archivist of the Royal Conservatoire of Scotland, theArchivist of the Hunterian Museum of Glasgow University, and the National Library of Scotland.

Michael Diack’s desk designed by Charles Rennie Mackintosh

John Hutchinson of Glasgow Branch,great-grandson of Michael Diack

Footcare and Footwear

Laura Brown, a member of the RSCDS Exeter Branch, has been a podiatrist for over 20 years. She has been a Highland and Scottish country dancer for most of her life. However, she does not profess to be an expert on Scottish dance footwear and does not endorse any specific products, but she describes why it is important to take good care of our feet

Feet are complex mechanical structures. Each foot is made up of 26 bones, 33 joints, and more than 100 tendons and ligaments.

This complicated design allows the foot to support the body’s weight and absorb shock when we walk, run, or dance. During walking alone, the forces going through the feet are 2-3 times that of the body weight.

Ballerina Feet is a term to describe some of the physical effects that result from the training and demands of ballet dancing, specifically from footwear or certain techniques and positions. Similar effects are also seen in Scottish dancing, particularly in competition Highland dancers, whose training and physical demands are greatest. For example, in a six-step highland fling, a dancer will jump 102 times. These repetitive motions can put significant stress on the lower limb and cause injuries. On top of this, Scottish dancers, like ballet dancers, wear dance shoes that provide limited support and cushioning.

Some of the more common dancers’ symptoms include hardening and discoloration of the toenails (including spontaneously losing nails), blisters on the toes/balls of feet, ingrown toenails, corns, and callus (hard skin), and dry, cracked skin. However, more serious injuries can occur from overuse and incorrect technique.

There are specific groups of dancers whose feet are particularly vulnerable to damage

l Children – up until the early teenage years, their feet contain more cartilage than those of adults, and the foot bones are softer, making them more prone to damage and deformity. Therefore, trying to avoid footwear that is too restrictive is essential. However, for the competitive highland dancer, wearing dance shoes that are very tight is a risk that many (including myself as a child) take to enable the best foot shape and point.

l Older dancers often experience discomfort in their feet. This may be due to the loss of the protective fibro fatty padding on the ball of the foot and the reduction in cartilage, causing osteoarthritis in the small foot bones. They are also more likely to have minor deformities such as bunions or hammer toes. This alters the mechanics of the feet, putting pressure on bony prominences, which can subsequently cause callouses and corns.

Therefore, often dance shoes with a cushioned insole, or perhaps a slightly larger size to accommodate orthotics/ insoles are recommended.

l Those dancers with conditions such as diabetes are also more vulnerable. As well as being more at risk of developing a loss of protective sensation in the feet, soft tissue structures can become stiffer and less resilient to stresses and strains. Again, wearing dance shoes that provide extra cushioning is recommended. Most of all, checking feet regularly for any damage, such as blisters or irritation from shoes or socks, is imperative Continued

Top tips for healthy feet

l Keeping active helps keep the feet healthy by toning the muscles and stimulating blood circulation. So, Scottish country dancing is good for us!

l Keep toenails trimmed, but try and avoid cutting them too short, particularly at the corners, as this can encourage the nails to in-grow.

Correctly trimmed Toenail Incorrectly trimmed Toenail

l Wash and check your feet daily, ensuring you dry between the toes. Apply a moisturising cream at least once a day (avoiding between the toes).

l Foot pain should not be ignored. If you have pain that has lasted for longer than two weeks or is recurring, then professional intervention is advised.

Top tips for socks and footwear

l Wear socks of the right size to provide a cushion between your foot and the shoe. Change these daily. Try and avoid the socks with big seams that may irritate the toes (or turn them inside out!).

l Look at specialist sports and walking socks that have either padding or double layers. The dual-layer socks allow the inner layer to move with the foot and the outer layer with the shoe to help reduce friction and blisters. Socks with ‘wicking’ properties, e.g., ‘coolmax’, are designed to draw sweat away from the skin, keeping the foot dry

l Wear properly fitting shoes – get your feet measured! It is amazing how many adults are wearing the wrong size shoes as they ‘know’ their size. Your feet expand by as much as half a size during the day, so shop for shoes in the afternoon/ early evening when your feet are the biggest.

l Choose a shoe with good width and depth at the toes and aim for a 1-1.5cm gap (approximately thumb width) between the end of the longest toe and the end of the shoe.

I l As a test, stand on a piece of paper and draw around your feet – cut out the shape and see if it fits in your shoe.

l Fastenings such as laces, buckles, or Velcro are best. This provides the foot with more support and prevents the foot from slipping around, causing trauma to the nails or the development of blisters or calluses.

l Choose a shoe that has a cushioned sole but, ideally, isn’t too flexible in the midsole.

l Try and keep slippers for evenings at home, rather than wearing them all day. Slippers provide little support and can aggravate conditions such as plantar fasciitis.

Applying the standard footwear advice is very challenging when choosing Scottish dance shoes. By design, they should be soft, flexible, and fit securely to be able to complete the steps neatly. Each dancer will have their own preference about how much room they like in the shoe. The traditional shoes should be a little snug to start with, as they are made of soft leather and will stretch a little on wearing.

Everyone’s foot is a slightly different size and shape. For example, some have flat feet or a high arch; others have a narrow heel or wide forefoot. Luckily, even within the traditional Scottish dance footwear world, there are many different styles and sizes to try.

Top tips for socks and footwear

A few years ago, you tended to see only ghillies or pumps on the dance floor. However, it is now much more acceptable to wear alternative dance shoe styles, which some find more comfortable than the traditional shoe.

Type of dance shoe Details

GHILLIES

Leather dance shoes, with long crisscross laces that can be tied around the mid foot/ankle. Often, they come with eyelets around the heel to tie them snugly on the foot.

Traditionally they are worn by male country dancers and highland dancers, but some women choose to wear them too.

Available in a full sole and split sole. Available with a built-in cushioning insole in some brands

Similar in style to a ballet shoe, either leather or fabric material and are traditionally worn by female Scottish country dancers. They come with an elasticated drawstring and an elastic mid foot strap, to hold them on the foot.

Available with either a full sole or split sole.

Available with a built-in cushioning insole in some brands

Mostly lace up shoes with soft leather uppers and mostly leather soles.

Available with either a full sole or split sole.

Here is a selection of styles of dance shoes available: Continued

Advantages and Disadvantages

l Traditional style

l Flexible soles to enable a good pointed foot

l More support than a country dance pump

l Laces allow slightly more room in the shoe to accommodate an insole/ orthotic

l Available in different colours (but mainly black)

l More expensive than pumps, particularly with the built-in insole

l Traditional style

l Flexible soles to enable a good pointed foot

l Basic ballet style are relatively low in price (but a specific Scottish dance pump with specialist insole can be expensive)

l Available in lots of different colours

l Non-traditional Scottish dance shoe

l Still relatively soft and pliable

l More difficult to achieve a good point

l More room to accommodate an orthotic/insole

l Generally inexpensive

Both styles tend to have a small heel, but have a soft leather/material upper.

l Teachers, who are doing a lot of standing, but still require a flexible sole for demonstrating, often like this style

l A more structured shoe design

l Generally, more room around the toes

Fairly new to the world of dance. These are lightweight trainers and are designed for dance styles such as hip hop or Zumba. They come with a variety of fastenings, soles and materials and non-marking soles.

Available as a split sole to allow more flexibility in the mid foot

l Very supportive and cushioning and particularly good for those recovering from injury

l Room to accommodate orthotics

l Unable to achieve any point

l Despite being light weight, they are still quite cumbersome for the intricacies of Scottish dance steps

GREEK SANDALS OR CHARACTER SHOES

Top tips for fitting of traditional dance shoes:

l The size of shoe will vary greatly between styles and brands. Start with your usual shoe size. Some dance shoe suppliers make a shoe specifically for wider feet, however, sometimes it is necessary to go up by ½-1 size for very wide feet. Or, on the contrary, down ½-1 size for narrow feet.

l Straight-lasted shoes are narrower fitting and gradually stretch with wear. The right/left lasted shoes are wider across the ball of the foot from the start.

l If you are able to, it is worth going to a shop and see, feel, and try on a variety of shoes (and practise a couple of steps). If you are shopping online, it is often useful to order 2 or 3 different sizes or styles and return the ones not needed. Check with your dance teacher if you are unsure.

l When trying on shoes, wear the socks/hosiery that you will normally wear with them for dancing; for example, a woollen kilt sock will be a lot thicker than a standard cotton sock.

l Think about what you want from a shoe. For example, a full sole gives more structure and support, but doesn’t allow as much flexibility in the base of the foot. A split-sole shoe, where there is no padding under the arch, allows the shoe to be more flexible and can emphasize the dancer’s arch and point. If you have had injuries or issues with your feet or need to fit in bespoke orthotics, consider one of the non-traditional dance shoe styles.

l If the shoe hurts your foot, or is causing your toes to bend/ curl, it is an indication they are too small, and you need

to choose a bigger size. If there is any extra material in the shoe, especially near the toes, then the shoes may be too large.

l If you can, choose the shoes with a built-in cushioning insole, to help shock absorption and protect joints and soft tissues. It really is money well spent. However, purchasing cushioning insoles e.g., poron, and putting them inside the shoe is also an option.

l Wear new dance shoes around the house to begin with, gradually building up the wear time and ensuring they are comfortable before wearing them for a whole evening’s dancing.

Often, we forget about our feet and tuck them away in shoes and socks. It is only when they start to hurt that we realise how important they are. Scottish dancing helps to keep us healthy and happy, but to enjoy pain-free dancing, we need to look after our feet and choose our dance shoes carefully. Dance teachers and the smaller dance shoe shops often can provide a wealth of information and advice, so ask for help if needed. Don’t forget to seek professional advice from a registered health professional, such as a HCPC registered podiatrist, if you need specialist foot advice. You can also access useful footcare information on The Royal College of Podiatry website Royal College of Podiatry homepage ( rcpod.org.uk ).

006048

February 2024Winter School

Stockbridge Scottish Reelers

A dreich Monday night in January in Stockbridge, Edinburgh. A community hall, packed with 91 young enthusiastic dancers. Most are beginners, with a more or less 50/50 male/female split. Average attendance is 80-100 each night. The dream of every branch? This is the achievement of the Stockbridge Scottish Reelers who are meeting for their tenth year. In this interview with Jimmie Hill one of the callers, Peter MacDonald, answers questions about the group’s short history.

Reeling is the style of country dancing traditionally done by the Royal Family,the Scottish aristocracy,and the land-owning families at County Balls, often by invitation only.The main Scottish Balls are the Skye Ball, the Oban Ball, the Angus Ball, the Perth Ball,and the Northern Meeting in Inverness.Part of the appeal of reeling is its limited repertoire: Hamilton House, The Duke of Perth, Inverness Country Dance, the Dashing White Sergeant, the Foursome and Eightsome Reels, and Machine Without Horses. More modern dances such as the Reel of the 51st, the Duke and Duchess of Edinburgh, Mairi’s Wedding, and Postie’s Jig have been added.The RSCDS version of Hamilton House has 24 bars of pas de basque out of 32. Reelers never use pas de bas in turning, so their version has only 12 bars out of the 32.All dances are referred to as‘reels’, irrespective of tempo. Dance pumps are rarely worn. Set and turn corners is danced as‘set, clap, and an overhead turn’. Birling or spinning is common.The set length is often more than 4.The emphasis is on energy rather than the accuracy of steps. One of the grandest reelers’ balls is the Royal Caledonian Ball in London, which has been an annual event for over 200 years.The late Queen was its Patron until her death.The current Patron is HRHThe Princess Royal.

So, Peter, what is your background?

My parents were Scots and keen Scottish dancers. As children they made us dance at Hogmanay each year and we were not keen on it. The actual reels weren’t the issue; we were a family of four boys and a girl. I always had to practise with my twin brother, which we both hated! My father was a doctor in the Royal Navy, and I joined the Royal Marines when I was 18. I served in various posts all over the world, based up at Arbroath with 45 Commando, but I was constantly on the move. In the Royal Marines, we didn’t do any Scottish Reeling.

What gave you the idea to start a class?

Chieftain, this changed; the Scots took over, and insisted we dance the sort of repertoire you would find at a Highland Ball –basically, the reelers’ repertoire. Under the RSCDS-style regime, there had been about 25 dancers, but by the time I left two years later, there were 400. Each Embassy in Beijing celebrated their National Day. The Scottish event was the biggest and everyone wanted to get tickets. We flew John Stewart and his band out from Pitlochry. I then went to Hong Kong, where there was a small RSCDS group with 20 or 30 people – but the Scottish community there was vast and of course they all knew the basic reelers’ repertoire.

How did your group here grow?

A couple of neighbours told me they had started a local group and they invited me to join. After leaving the military, I had been out in Asia working and that’s when I started to overcome my childhood horror of practising for ceilidhs! It started in Beijing, where there was the Caledonian Society, whose main social activity was Scottish dancing. It was very RSCDS and dominated not by Scots but by some Australians. With a new

Continued on page 21 w

When I came back to Edinburgh, I knew a little and had seen what worked abroad. The group that I joined here in Stockbridge had about 10 people. I was not and still am not an expert, but in the Kingdom of the Blind it helps to have one eye! At the end of our first 6 months, we had a ceilidh with a live band and about 30 people. It had been fun and I thought that was the end of it. Nobody else seemed to be of that opinion. One of the dancers, Julie, volunteered to take charge of, and administer the whole group. She was terrific. I was happy to play my part in attempting to do the calling, but it was Julie who made the hall bookings, the band bookings, cash collection, and Peter MacDonald

managed the regular email contact with dancers. With my military background I was familiar with taking charge of a small group and working with others. Ours is always a team-based approach. Half a dozen of us take it in turns to do the calling and the managers/administrators have their team dynamic well-honed too. The Management Team work well together and in the Calling Team we do as well. Most importantly though, we are supported by a universal commitment by all to prepare for Monday night practices. Communication and action begins as soon as we get to the 20:15 start time and doesn’t let up for two full-on hours. There is a real buzz that comes with teamwork. We started in 2014 so that means we have been going eight years, discounting the two lost Covid years.

How do you keep people coming?

Our group varies in age, energy level, confidence, and in dexterity. I think the group keeps the Body of the Kirk together because we dance a mix of tempos in a small syllabus of 18 dances. These range from the simpler ones such as the Gay Gordons and Dashing White Sergeant, but we also have something for the more experienced: the Earl of Mansfield, the Kandahar Reel and the Irish Rover. We always acknowledge that we are in the community, and we stress that we are here for the community. The idea is not to win any prizes or competitions; it’s to know that people enjoy coming along, feel safe, feel valued and if we can make everyone feel that way then maybe they will want to keep coming back. There are always people who come for a few weeks, then you never see them again. We never hear why they don’t come back, but enough new people keep coming to keep us topped up. We are a kind of community service! And I really enjoy it.

How did you work out how to teach?

I haven’t worked it out yet! In the weekly newsletter, we ask the group to prepare for the upcoming week by watching training videos at home of dances which are new to them. Once in the hall, we warm up with something easy to get people going and allow stragglers to arrive. If necessary, we then ask a group of volunteers who know the reel or jig we are about to dance to demonstrate it. Then, we all form sets with one or two experienced dancers in each. All the sets walk through the dance until their supervisor is happy that they are ready to start. Then we dance to music – usually twice. So, when we do a new dance, everyone has walked or danced it multiple times, by which time they know it! Then we revise it the following week, and slowly we continue to build up the repertoire. None of us callers is a qualified teacher. A class of over 90 is difficult to control but our culture of pre-class preparation, teamwork and set-level walk-throughs seems to get us there. Chaos does reign, but it is organised chaos!

How do you organise the beginners’ course?

In November, Jo, who now organises the group, advertises a 6-week ‘Beginners’ Tutorial’ course which kicks off in the New Year. She targets the New Year Resolution folk as much as everyone else in the local area. During those 6 weeks we guarantee dancers will be taught 12 dances: The DashingWhite Sergeant, the Reel of the 51st, the Gay Gordons, the Eightsome, the Foursome, the Duke of Perth, Hamilton House, Strip the Willow, Inverness Country Dance, Mairi’s Wedding, Postie’s Jig and Mrs Macleod of Raasay. The ‘Beginners’ Tutorial’ course culminates with the ‘First Reel Ceilidh’, kilted and sashed up with a live band. At the end of the 6 weeks, those who have come to each practice will be able to dance confidently at weddings, ceilidhs or Highland Balls. After that, the dancers are competent and quicker to learn, so we add more dances. We always get some new people in the Autumn, but they are easily integrated because the majority by that time know what they are doing.

Not everyone comes every week, but they know that if they can’t come for a month, they can fit in again easily. Everyone has different things going on in their lives, but they all know they can come back whenever they want. We have a fairly equal number of men and women, but occasionally women have to dance as men.

How is the class financed?

The first evening is free and if newcomers like it, the 6-week course costs them £30. Having a core of experienced dancers helps so much with the Tutorial Phase and so this year, Jo allowed existing regulars to come along free to help out for the 6-week course. This signals to them how highly they and their experience are valued by us. We don’t charge much because it doesn’t cost much. If we make a profit, we give it to the community hall we use to help their funds. There is no point in holding money in the bank.

Why is the Kandahar Reel so popular?

Apart from the obvious military connection, it is a challenge which the more ambitious dancers relish. As you can imagine our ‘Dance Card’ doesn’t vary too much, but all dances are ranked by stars to indicate level of difficulty The three 5-star dances are the Kandahar Reel, the Earl of Mansfield, and the Irish Rover. At our 2023 year-end ceilidh we had three sets of 5 couples each up for Kandahar and all three times it was danced without fault – that is 15 times through! People invest time in it and they want to be good at it. As far as we know, none of the other Scottish Dancing groups in town dance it, so people know it is a kind of signature reel for us.

You are very much part of the community.

Yes. We get asked to do demos in old folks’ homes, for example. In January ten of us did a demo for a military group up at the Royal Scots Club. It was their Burns’ Night, and they wanted some dancing. The first dance we showed them was specially for them –the ReeloftheRoyalScots.And because of the military connection, we danced the Kandahar Reel. Then we got them up and paired them up for five easy dances. Lots of people in the community know about us in this part of the city. It’s almost like a franchise. We get calls from all sorts of people and community groups. We have a presence in this part of town. We are now a ‘go-to’ group. Our culture is accommodating – not elitist. There are other reelers groups in Edinburgh who don’t do walk-throughs and are not as beginner-friendly as us. You will never create a community group like that. Because we encourage a change of partner after every reel, it doesn’t matter which set you are in. Provided you are doing your best to prepare and trying once you arrive, then you are a team player and must be looked after by everyone else. All of us make mistakes, but we get through it together and have a lot of fun along the way. That’s what the Forces teach you.

Do you have a code of conduct?

We didn’t used to. When the RSCDS code of conduct came out last year, much of it resonated with the SSRs. On the back of that, we were inspired to write our own modified version, the emphasis more than anything being on looking after your partner. Beyond the Code of Conduct, we have a guideline which is asking that everybody change partner after each dance. That keeps the social group interaction inclusive and dynamic. We get young folk who want to do the fast spins and the turns. That adds to the energy and the spontaneity, but we stress to women that if they don’t want to spin, they make that clear to their partner. Every individual matters. If someone isn’t getting it, we must be patient and partner them with the best dancers.

Over the past ten years how many people have come through the door?

A very good question. I reckon we have had at least 500. Some have come for one or two evenings, some for a term, and some

have stayed. Young people move away. They get married and start a family. This is a safe place for people to come. Our aim is to make sure that everyone feels respected, looked after and in the centre of things. We are in the community for the community.

How do you promote the group?

We take a full-page colour advert twice a year in the local free magazine. Word of mouth and personal recommendations also helps a lot. That’s what has created our presence. If people think they want to dance Scottish Reels in the EH4 postcode area, they come to us.

How important is having a limited repertoire?

None of us is against adding a dance or two, but I don’t think people want more than the basic 18. They want to come and dance, not spend ages learning arcane new and often boring strathspeys. We have some quite experienced ‘callers’ now, but that’s within the context of our limited syllabus and they won’t teach what they don’t know. People want fun above everything. A repertoire of 18 is a worthwhile community pursuit. If the repertoire were to grow and grow, it would cease to be that and would become something different. Our group has a mixture of busy working people, students, and some are retired. No matter, we all go along for some fun and stress-relief! We don’t mind revision, but we don’t want to be set new homework before every practice.

How important is the weekly email to the class?

Jo in the management team and Sophy have everyone’s email and contact number. We don’t have formal membership or a membership fee. You are ‘a member’ just by coming along. The

weekly newsletter which Jo sends out is mainly to give a heads up for the practice plan to do the next week. We do advise that if you are not very confident in what we’ll be dancing, please remind yourself by watching the London Reel tutorial videos. There’s a little bit of a review on how we are all doing for encouragement. My guess is that a lot of people are quite proud of what they have achieved. Jo and Sophy do all the admin and Jo sends out the emails. Only those two have contact details for everyone. And the weekly emails are a reminder to all the people who have stopped coming that we are still here, and they are welcome to come back. We don’t take people off the email list just because we haven’t seen them for a while. They still might come back.

What advice would you give to other groups?

If you want community appeal, you have to appeal to the community, not just to elite dancers. Nowadays, there is so much competition from other activities. What we do is real, physical, visceral; and fun. Here in Scotland it is something that culturally, we should all embrace. Virtually every Scot could have a go at the Dashing White Sergeant or Strip the Willow at a wedding or ceilidh. Essential to our culture of Scottish dancing is that there are no barriers: anyone can dance with anyone irrespective of ability or other considerations. Our gently encouraged partner swap for each reel does bust any ‘top set cliquiness’. The best dancers know to disperse themselves among all the sets – they want to get away from the stage and get out there with the less experienced. Oh, and very important, we refuse to have a committee!

Clubbing Together in Iberia

There are no branches of the RSCDS on the Iberian Peninsula: Scottish country dance groups are small clubs, often with no more than one or two sets meeting weekly to enjoy the sociability and music for Scottish country dancing. How envious they are of groups who find they can dance to a live band every weekend nearby and be home again that night! Their solution is to club together and organise an annual dance weekend somewhere different on the Iberian Peninsula each year, where they can meet up with others who share their enthusiasm for this specialised form of dance. This means that they can afford to invite teachers and musicians from afar, to teach classes and play for the dancing during the day and in the evenings.

After the long Covid break, this March saw the return of this event, postponed from 2021. At last dancing friends were able to meet up again and share the exhilaration and fun of dancing to a band and being in a bigger class than usual. Over 100 dancers attended the weekend event this year in a hotel in Evora, in the pretty Alentejo region of Portugal, organised by the Lisbon group. Ramona Zohm (Germany) and Andrew Nolan (UK) taught classes, and Matthias

Rank (Germany) played his fiddle with accompaniment from Andrew Nolan when Andrew was not teaching. They made a great team, and the dancers made their appreciation known. Ramona’s teaching was exemplary, as she had to cope with keen dancers for whom understanding English is a challenge and the specialised vocabulary of Scottish country dancing

even less easy to understand. The tune sets put together by Matthias and Andrew made the music memorable, and Matthias is a very fine Scottish fiddler indeed!

Next year, the Iberian dancers meet in Barcelona. If there are still spaces after the Iberian groups have signed up, you might like to think of joining them yourself. Or if you are a member of a small local group, have you thought about organising a joint event yourself with other small local clubs who usually have only recorded music to dance to weekly?

International Branch members at the Iberia weekend in Evora,Portugal. (Photo Isabel Bettencourt)

23RD NOVEMBER 2024

23RD NOVEMBER 2024

Join the RSCDS on Saturday, 23rd November - dancers in every corner of the globe can enjoy a program of dances from around the world at home, in a small group, or at a branch event.

Taking dancers on a journey from Scotland around the world and back, the programme features 12 dances with connections to 6 continents through devisers, themes and locations, before bringing everyone together with The Homecoming Dance.

The date for the Dance Around the World event is Saturday, 23 November, marking one year since the RSCDS Centenary. We hope that branches that already have dances planned for this date can include some from this selection. The dance choices allow us to highlight some old favourites, revisit previous publications, include basic RSCDS formations, and provide a good mix that newer dancers can also enjoy.

The CD for the occasion will feature Colin Dewar and his Scottish Dance Band.

Can you guess the dances from the highlighted locations?

The future of Scottish Country dancing. JulieYoung Dancers competing in the Perth Festival

Dancing around the World

All branches and affiliated groups are invited to send in their news (maximum 200 words) to Caroline Brockbank caroline@ceilidhkids.com

Annan Branch Celebration of the Centenary

The Annan Branch celebrated the centenary with a dance on 31 October 2023. Dancers from Dumfries and Carlisle joined past and present members of the Annan class for a very enjoyable afternoon. George Meikle provided the music, and class teacher Jayne Riddet was in charge of the dancing. The afternoon was concluded by a delicious afternoon tea provided by the members of the Annan Branch.

Jayne Riddet

Ashill SCD Celebrates The Centenary In Style!

Sue and Julie in the polka

On Sunday, 24 September, Horton Village Hall near Ilminster resounded with music and laughter; the first was supplied by Chris and Julie Dewhurst, and the latter by almost 50 dancers gathered to enjoy a wonderful afternoon. Six sets included dancers from Ashill, Bath, Bristol, Chardstock, Exeter, Taunton, West Camel, Weymouth and Yeovil. Each dance on the programme was chosen because of the connection with people or places important in 100 years of the RSCDS and introduced with a few words about its significance. At the interval we raised our glasses of sparkling wine to the RSCDS, with a huge cake complete with logo and blue ribbon. The hall was decorated

with tartan banners and saltire balloons, and everyone enjoyed a wonderful afternoon celebrating music and dance. It was organised by Anita Wilson and her Ashill Scottish Country Dancers. Running from 2018, and despite Covid, the class now regularly has three sets on a Tuesday evening as a Beginners’ Class with everyone welcome. As the Somerset Branch sadly had to close last year, the Ashill group wanted to acknowledge the centenary, and we had a terrific afternoon. The photos represent the joy of the occasion!

MaggieWestley Bristol Branch

On 11 November, Bristol Branch hosted a Day School taught by Catherine Livsey from Leeds. We were delighted to dance to Judith Muir’s music during the classes and to the Musicians’ Day School Band, led by Ian Muir, in the evening. Catherine focused on footwork and posture in the morning and encouraged us to use similar skills in the afternoon, challenging our brains with a 3-couple espagnole in The Tall Ship “Glenlee”, and a 4-couple tournée in The Falkirk Wheel. Concentrating on technique was hugely beneficial from a newer dancer’s perspective, and we tried to put everything into practice at the evening dance.

Ian Muir led a workshop for 19 musicians. Music was issued in advance so that we could prepare before the workshop and focus on ‘how to play’ rather than sight-reading. Ian used the sets for the evening dance for valuable teaching points, from understanding the Scottish idiom, phrasing, types of tunes, and set construction to dealing with technically difficult original tunes.

Playing for the evening dance was great fun and the dancers’ reactions made the practising worthwhile. For the dancers, the music was uplifting, and we flew around the room, the electric atmosphere amplified by the orchestra on stage.

HeatherAcornley and Colin McEwen

Buenos Aires Scottish Country Dancers

The BASCDancers celebrated the RSCDS 100th Anniversary, together with our eighteenth birthday as an Affiliated Group. The Anniversary party was held at a prestigious venue in Buenos Aires city centre and we were honoured with dancing friends from Uruguay, Helen and Mónica. The ceremony was topped with a delicious cake baked and decorated by one of the dancers (thanks, Pat!) Some dancers took classes at Summer School in St Andrews in weeks 3 and 4, always an excellent opportunity to make friends from other parts of the world and to live the ‘for fun, fitness and friendship’ thing. We

Continued on page 24 w

BuenosAires Scottish Country Dancers

also received other visits from abroad during 2023: Liz and Gordon from Scotland, Lys from Wales, James from Brighton and Francine and Dave on board their Big Bertha, a motorhome that travels the world! As has become customary, Halloween and Christmas were celebrated at Eddy’s home in a ‘very British’ southern borough of Buenos Aires, Adrogué. (Adrogueshire, as we humorously name it!)

During December, the BASCDancers held their first ‘Dancing in the Street’ event, where people who had never danced SCD before tried a couple of reels and even strathspeys and a medley.

Sylvia Baxter

Castle Douglas Branch

Alison and her husband looking at the new centenary book,which was presented to her by President IsabelAnderson.The book includes the dance Bonnie Gallowa’ which was devised by her father.

Castle Douglas Branch held a celebration dance in September, both to mark the centenary and to remember our late dance teacher, Willie Little (Bill), who would have been 100 years old in September 2023.

Sylvia Baxter

Celebration of the Centenary by East Angus and Forfar Branches

On Saturday, 30 September 2023, the East Angus and Forfar Branches celebrated the Centenary of our Society. It was very special to have a dance on the same day as many other branches around the world. We had a very successful and happy evening with marvellous music from David Oswald and his Band. The dancers came from the North, South (even London), East and West, and all enjoyed the programme, which included the ten dances from the Dancing Through The Decades CD as well as other favourites and local dances. We were fortunate to have Chair William Williamson and his wife Linda joining us. It certainly was an evening of Fun, Fitness and Friendship.

George Watt of our branch composed a special poem to celebrate the Centenary of the RSCDS.

May yer lum reek lang,

May yer health bide strang,

May yer hert be licht,

Let yer feet tak flicht

While ye reel and jig awa, Aye, Strathspey anaa!

Wi luve we’ll hae a birl

Fur freins aroun the wurld

Susan Greaves

Hamilton (Ontario)

2024 promises to be an eventful year in southwestern Ontario. The Great Lakes Ball in May celebrates the RSCDS 100th, and Hamilton (Ontario) Branch, the oldest Canadian Branch, celebrates its 70th anniversary with an event later in the year.

J’ina Middleton (neé Smith), her mother, and her younger sister joined the group in 1957, and J’ina is still dancing and teaching. The motto for the Lowland clan of Middleton is ‘Fortis in Ardus’ and that is what we are having to be: ‘Brave in Difficulty’. Changes in immigration patterns and increasingly busy highways make attracting new members difficult, but our annual Dancing on the Dock, seven Wednesdays last summer, attracts participants of

diverse ages and backgrounds. Many return each week, some even wearing the kilt, and one evening a musician enlivened our recorded music by playing along on his whistle. Last September several of these summer participants joined our ‘5 (classes) for $25’, with some going on to become Branch members. We continue to offer three levels of class each week and a monthly dance, and many of our dancers support events hosted by other groups, with afternoon functions increasing in popularity.

Anne Harrison

Richmond, North Yorkshire

What could persuade a group of otherwise reasonable people to join in Scottish country dancing outside on a cold, damp January winter’s day in the north? The answer is the magnetic attraction that is probably the best-loved steam locomotive in the world—

The Flying Scotsman! 2023 was a Centenary year for The Flying Scotsman, celebrated by taking the locomotive on a UK tour to visit enthusiastic fans. This culminated in The Flying Scotsman spending Christmas and New Year at the Locomotion Museum in Shildon in the Northeast of England.

For members of Richmond RSCDS, this presented a once-in-alifetime opportunity. What better than to celebrate by bringing together one of our all-time favourite dances, with the engine that

had inspired Hugh Thurston to write the dance many years ago?

Warmly wrapped up in jumpers, coats, boots and woolly hats, we made the most of the unexpected dancing the dance beside this celebrity engine. This was greeted by much surprise from other visitors to the museum – many of whom were persuaded to join us for the encore!

Joy Bradshaw

Saitama Branch

On 5 November 2023, the Saitama Branch celebrated the Society’s 100th anniversary. The Saitama Branch and the Saitama Folk Dance Federation held ‘Dance Scottish in Saitama’ as their first joint project, realized after a long period of preparation. About 300 dancers from inside and outside Saitama Prefecture gathered, and there was a dance workshop in the morning and a party in the afternoon. The party included not only country dancing but also country dance demonstrations, bagpipe performances, and Highland dance demonstrations. Some of the participants were very impressed to hear the bagpipes play for the first time. The dancers of the folkdance groups do not dance Scottish dances on a daily basis, but this time, they enjoyed Scottish dances all day. It was a great day for the dancers who participated, and some expressed hope for the next one MasaakiWatanabe

Continued on page 26

Richmond Branch at Locomotion, Shildon

Saitama

Tokyo Scottish Bluebell Club - Celebrating 40 years

Forty years ago, when people first gathered, led by Marchan (Masako Okada Naitoh) and the late Yukio Naitoh, no one would have imagined that this day would come. But in 2023 we happily celebrated our 40th anniversary with a grand ball, led by Marchan who celebrated her 90th birthday this year. The ball began with a grand march following a bagpiper. Then, with brilliant live music by Akiko Kasama (piano) and Kana Otake (fiddle), everyone danced on a packed floor, enjoying the beautiful scenery of Scotland, projected on a giant projector filling the front wall.

During the intermission, a Highland dance was displayed, and a commemorative video recalling days in these 40 years. The main event, however, was a photo shoot that worked so that the mass of people gathered looked like big numbers ‘4’ and ‘0’ when seen from above. As usual, the final dance was TheEightsomeReel, then, forming a large circle around the piper, and everyone sang Auld Lang Syne. Thanks to all those who came together for this occasion. Shoko Okumura

Waltham Scottish Country Dance Group

The Waltham Scottish Country Dance Group in Leicestershire held an Afternoon Tea Dance on 30 September to celebrate the Centenary. The 10 Centenary Dances formed the core of the programme, with additional acknowledgment of the founders with Miss Milligan’s Strathspey and Mrs Stewart’s Jig as well as of the Society in the form of EH3 7AF and 12 Coates Crescent. A wonderfully decorated cake was shared, making the dancers in the filled hall feel part of a worldwide celebration!

The Royal Engineers held their national Burns Supper at Chetwynd Barracks Chilwell on Sat 27 January, attended by nearly 150 guests including some Chelsea Pensioners. Local Scottish country dancers from Waltham, Newark, Grantham and Nottingham were invited to demonstrate dances, before Pipe Major Kirsty Campbell piped in haggis sourced from the Highlands, for its address by Kenneth Kirk, Chief Executive Officer of the Royal Engineers. The guests enjoyed watching the jigs, reels and strathspeys and joined in with some well-practised enthusiastic clapping!

JohnAitken

West Lothian Branch Annual Dance

Mrs Moira Stephen and Chair,William Williamson cut the

cake,

On 2 December 2023, RSCDS West Lothian held their Annual Dance in the Canon Hoban Hall, Broxburn. This also included a celebration of the RSCDS Centenary. Around 60 dancers from local clubs attended and Chair William Williamson and his wife Linda were invited. To start the evening, the Branch Chair, Mrs Moira Stephen, welcomed the Chair and his wife, and William gave a speech. Then William and Moira cut the beautiful (and delicious) Centenary cake, made by Shirley Nuttley, a member of our Branch.

Following the Christmas dinner, everyone thoroughly enjoyed the evening of dancing to the music of Lindsay Weir and her husband, Colin Garvin.

Glasgow Branch Seniors’Tea at the House forAnArt Lover.

Marchan with a bouquet and dancers forming 4 and 0

beautiful Centenary

Reviews

Does your branch or club have a new book which you would like reviewed? If you teach a class and are interested in reviewing books from a teaching point of view, please be in touch: mag.editor@rscds.org

Bobby’s Favourites

Bobby Crowe led one of the busiest and best Scottish dance bands of all time, producing, over many years, around twelve recordings for the RSCDS, and a long-term member of Bobby’s band was the ever popular Jim Lindsay.

Jim Lindsay was approached, and the eventual outcome was the CD Bobby’s Favourites, a must-have for both dancers and listeners. Playing alongside Jim on the recording are David Hume on harmony accordion, Gillian Ramsay and Mary Rutherford on fiddle, Graham Berry on piano, John Sinton on bass, and Malcolm Ross on drums. Also featured is Bobby’s granddaughter Gemma Crowe on clarinet, adding an extra dimension to the sound on certain tracks. Many of the tunes are familiar, but we hear some more recent compositions as well, and the arrangements by Jim Lindsay are, as ever, phenomenal. References are made to bandleaders of yesteryear, with the opening set containing jigs by Angus Fitchet, who also played with Bobby for a number of years. Several Scottish country dances are featured, namely Captain MacBean’s Reel, Miss Cahoon’s Reel, Reel of the 51st Division, Duke of Atholl’s Reel, Braes of Mellinish, and Hamilton House. All are attributed to former bandleaders and include the tunes they would have played. The remainder of the album consists of listening material such as The Crowe Ladies – two compositions by fiddler Ron Kerr, the slow air Alyson, for Bobby’s daughter, and played beautifully by Gemma on clarinet, followed by a lively reel for Agnes, Bobby’s wife. Some material from the pen of Lindsay Ross, father of drummer Malcolm, also features, including the lovely slow air for Catriona, Malcom’s sister, and Out at the Meadowbank Inn, a well-known twostep.

The final track, The Day Has Ended, taken from the hymn The Day Though Gavest Lord, is Ended is for me the most sublime in this wonderful collection of 23 tracks, and it was also a favourite melody of Bobby personally. Despite its brevity, the sheer musicianship and depth of feeling displayed in the phrasing is thoroughly moving, and a fitting ending to one of the best recordings I have ever heard. Jim Lindsay and his superbly talented team give us a truly eclectic mix of musical styles. The sound is tight, swingy, each tempo excellent as always, and Jim’s arrangements are second to none, tailored to suit the great strengths of the individual members of the band. The CD sleeve is extremely well presented, with photographs of Bobby’s band(s) throughout the years, as well as lots of interesting information to digest.

Bobby’s Favourites is a resounding triumph for all concerned, and Bobby himself would be extremely proud to be remembered in such a fitting manner.

Maureen Rutherford, Perth & Perthshire Branch

The editor apologizes to Chris Ronald, International Branch, for omitting his name from the review of The Delaware Valley Gold 50th Anniversary book of dances and the accompanying CD that appeared in the October 2023 issue of the magazine.

The Hour of Pearl.

It would be impossible for me to pick only one favourite from this exciting new CD The Hour of Pearl.

Catherine Strutt and Chris Duncan have put their hearts and souls into this recording. Each and every track will delight. The tune choices and presentation make it difficult to sit still! They excel at jigs, strathspeys, and reels. Both Chris’s fiddle and Catherine’s piano drive dancers to their very best! They absolutely owned the music. There were some slippery transitions that added more zest. It is a CD that you can easily sit back and listen to over and over again.

The dances: The Milltimber Jig,The Castle of Mey, Bob Campbell, Gothenburg’s Welcome, Inverneill House, Angus Fitchet, Fiddler, Dancing on Parnassus, Princess Margaret’s Jig, Orwell Lodge Strathspey, Bauldy Bain’s Fiddle, a waltz called Sweet Journeys and concluding with the Gaelic Air - Turn again thou fair Eliza. The jigs are jubilant! The reels are rockin’! The strathspeys are stellar!

The reviewer’s only regret is that it isn’t a double CD. When it starts ‘down under’ and rises to the surface, you know it must be cream!

RonWallace, San Francisco Branch

Formation Foundations

by Chris Ronald

Chris Ronald’s FormationFoundations is a valuable collection that any teacher would benefit from using. The book contains 32 dances that were devised to introduce a formation to a class, with the featured formation being the only unfamiliar movement in the dance. The book is well-organized and thought out. As you look at the page, the dance description and notes are on the right side, and on the left is information about the featured formation with reference to the section of the RSCDS Manual describing the figure, main teaching points, common problems, and possible skill exercises to aid in teaching. The author stresses that these notes are a complement to the Manual and not a replacement. Chris’ conversational voice comes through like a friend, sharing insights gained from teaching all levels of dancers. The fact that most dances can be done at any tempo is a boon to the instructor.

The accompanying album by Jim Lindsay and his band is a delight. Fifteen tracks with stellar arrangements may be used for other dances in the book as needed. This reviewer particularly enjoyed Felicity’s Frolic and the show tunes in the track for Hello-Goodbye. There are two tracks where the music alternates between strathspey and quick time as a teaching aid – a class can learn the dance in strathspey tempo and then repeat it in quick time. The spiral binding is sturdy and very convenient as the book lies flat no matter which page is opened. Chris and those who contributed to the collection took great care in crafting the book and accompanying album. Well done to them!

Jeanne Moody, San Diego Branch

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24 Fun and Easy Scottish Country Dances and 8 Popular Ceilidh Dances

Start Dancing! is a book of 24 easy dances published by TAS, the Teachers’ Association of Scotland, for children and beginners to learn to dance. The dances in the book start very simply with a chase dance with a simple progression once and to the bottom, square dances and round-the-room dances. They then progress to 2-couple dances in a 3-couple set, and to 3-couple dances in a 4-couple set. The figures in the dances are basic: simple figures such as chases, circles, figures of eight, promenades and rights and lefts. There is some repetition of figures between dances to consolidate learning. The new dances in this book work very well for progressive lessons or warm-up dances for regular classes, but perhaps less well as the basis of a ceilidh program given the repetition of figures. However, the addition of well-known ceilidh dances at the end of the book will give you all the variety you need. The music is fabulous. The clear, steady rhythm is appropriate for the new dancers to develop their dancing skills. The music for the well-known ceilidh dances is lively and exciting and played by a variety of Scotland’s favourite Scottish country dance bands.

RSCDS NZ Branch Wellington Summer School

28 December 2024 to 5 January 2025

We invite you to enjoy a week of dancing in Wellington, New Zealand. The venue is Scots College, a co-educational boarding school set on extensive grounds, just minutes from the airport.

Featuring international teachers and musicians:

• Kate Gentles (teacher) - UK

• Diana Hastie (teacher) - Aust

• Elke Baker (fiddle) - US

• Lisa Scott (keyboard) - US

Enjoy dance and music classes for all, both residents and commuters.

Experience Wellington’s cafes, galleries and museums or explore our stunning harbour and unique nature reserves.

Come join us - you’ll be blown away by a Wellington welcome!

Organiser: Ann Oliver

Email: nzsummerschool2024@gmail.com

Register now: nzsummerschool2024.nz

Follow: facebook.com/NZBranchSummerSchool

I purchased this book at the beginning of this dance year and have used many of the new dances in my family class, some for warm-ups for the older children, and I put some of them on our Family Ceilidh program in December. Sometimes progression can be the hardest part of the dance for young dancers, so it is really nice to have some dances that start with a simple progression and then move on to dances six or eight times through. The dances are lively and fun and as always, the great music keeps everyone smiling!

The dance instruction book and the music can be obtained from tas.secretary@mail.com . A unique feature of the book is that it is available as a free PDF to any UK schoolteacher. Anyone else can buy a PDF copy of the book for £8 and a physical copy for £10 plus postage. The music can be downloaded from startscottishdancing.bandcamp.com for £1 per track or £12 for all 24 tracks (the eight ceilidh tracks are free). One extra feature of the package is an album of tracks for step practice class. (see the following announcement for details)

Moira Korus,Toronto Branch

Music for Step Practice

TAS has just added a new album on its bandcamp site of Mo Rutherford playing Music for Step Practice. There are 26 tracks of 8, 16, and 32 bars of music in jig, reel, and strathspey time, ideal for practising steps. Typical tracks are 8 bars of Petronella for setting practice and 8 bars of The Braes of Breadalbane for strathspey practice. Each track begins with a chord to make it easy for dancers. There are also tracks for warm-ups and cooldowns. The whole album costs £8 (+ VAT in the UK) and can be downloaded from startscottishdancing.bandcamp.com

AnneThorn,TAS Secretary

“The Hour of Pearl” CD and the “Formation Foundations”

(book and CD) can be ordered through: The Leeds Branch bookstore

https://rscdsleeds.uk/index.php

The Teachers’ Association (Canada)

TACSound store

https://sound.tac-rscds.org/

Enquires about purchasing Bobby’s Favourites can be sent to mag.editor@rscds.org

Saturday 13th July 2024, from 1.30pm

Evening Dance, 7pm - 10.30pm (Everyone welcome)

Gateways School, Harewood, Leeds LS17 9LE

Massed General Dancing, Demonstration Groups, Highland & Scottish Step

Dancing, Children’s Groups and Evening Dance

We welcome full teams of 8-10, but can make arrangements for smaller groups or individuals

Music throughout by Ewan Galloway and his Scottish Dance Band

Full details from the website whiterosefestival.uk

RSCDS LEEDS BRANCH 68TH ANNUAL

Dear Editor

An Aspiration fulfilled:

In the October edition of Scottish Country Dancer, there was a very favourable review of the Glasgow Branch’s 100th Anniversary Dances, published to celebrate its Centenary. In her article, Alison Jackson from the South Wales Branch expressed the hope that ‘an accompanying recording may be forthcoming in future!’

This aspiration has now become a reality. A digital recording has been carried out with Màrtainn Skene (who composed many of the tunes for the dances) on accordion, Colin Garvin on piano, and Nicky McMichan on drums. Eilidh Hart, a Glasgow Branch member, was the recording engineer. Jimmie Hill then very kindly loaded all the music onto Bandcamp.

All thirteen tracks can be purchased for £15; individual tracks for £2 through https://glasgowrscds.bandcamp.com Do have a listen before you buy! The books, costing £10, are nearly all sold out. A pdf version is available for £5. Contact Margaret through the Centenary page of www.rscdsglasgow.org

All the videos, diagrams, and cribs of the dances can be viewed through the ‘Scottish Country Dance Dictionary’ https://www. scottish-country-dancing-dictionary.com and the ‘Scottish Country Dance Database’ https://my.strathspey.org/dd/

Happy Dancing!

Margaret Sanders - Glasgow Branch

Dear Editor

A View from the

City by the Bay

I am currently Chair of the San Francisco Branch Committee but writing solely as a concerned member of the Society. The Branch has c250 members, of whom about 70 are routinely involved in major volunteer roles, including running the annual Asilomar Workshop, drawing over 200 participants from around the world. Our annual expenditure is about $150,000. While we are a small part of the Society, we face many of the same complexities, but without paid staff.

We were not of one mind about the Society subscription increase approved at the November 2023 AGM. The reasoning provided was limited to a comment that inflation was increasing costs. In the end, we recommended that our delegates approve the motion, although it impacts our own operating budget. Society subscriptions represent close to 60% of the revenue we bring in from membership dues.

In an effort to better understand the Society’s finances, I dove into the 2020 and 2023 annual reports, bracketing the COVID pandemic. Total membership declined by about 15%, so I looked at finances on a per-member basis. Total revenue per member from all sources rose 4%. Total expenditure per member rose 14%. Of this, the biggest driver was staffing cost per member, rising almost 35%. Of this, more than half came from temporary staff costs, amounting to over £38,500, or £4 per Society member. This is twice the subscription increase approved at the 2023 AGM. If we take out the temporary staff costs, expenditures rose 9%, or only 5% more than revenues. If staff costs were a temporary impact on the Society’s finances, why did we institute a permanent subscription increase rather than absorbing the cost from reserves?

The Society’s reserve investment funds lost over £112,000, or 23.6%, compared to a loss of 0.8% for the overall UK stock market. The 2023 annual report had no explanation for this. Can we be confident that investment decisions are prudently conservative in these difficult times? Would a healthier reserve have allowed the Society to absorb a temporary loss without a subscription increase?

Running these numbers was not feasible before the AGM, as the Society’s annual report was not released to the branches until September, despite having been completed at the end of June. Even then, it took quite a bit of effort to understand the financial picture, as the report was written for accountants rather than the rest of us. This delay kept us from making a fully informed vote on the dues increase. If we had had the above figures in front of us in October, we might not have voted ‘aye’ on the subscription increase.

We are raising our own dues because of the increase in Society’s subscriptions. We are going to have to make the case for this to our membership this spring. This would be easier if Society were more transparent in its management. We expect that some of our members will ask, as they have before, “What do we get, here in San Francisco, for our Society subscriptions?”

Tom Ward, San Francisco Branch Chairman

Sadly Missed

We would appreciate if obituaries for the next issue (max 150 words) come from branch or club secretaries.

Brenda Burnell

The loss of Brenda Burnell will be sorely felt throughout the world of Scottish country dancing. Her very manner made her unique, with her soft voice, sense of humour and gentle dignity. Her dancing knowledge was vast, teaching for nearly 70 years in the Leeds area and at Summer School. She was the first non-Scottish RSCDS examiner. Her love of children and the easy way she taught them brought out their very best, which showed in their demonstrations and festivals. An early member of the Leeds Branch, she worked tirelessly for it, teaching, devising dances, organising catering on a grand scale, handmaking costumes, producing exquisitely written wall programmes and crib sheets and taking photos of so many events. 2000 saw her awarded a Society scroll. An inspiring lady, she is already greatly missed, and what a privilege it was to have been taught by her.

MarionWalbank, Leeds Branch

Olive Cameron

Kilmarnock & District Branch recently lost a long-standing and well-respected member. It is not clear from branch records just when Olive started dancing in Kilmarnock, but by the late 70s, she had become a committee member, and in 1982, she was elected to serve as branch secretary – a position she held for 17 years. Not wanting to lose the services of such a valued committee member, the branch invited her to become an Honorary Vice President and, in 2010, Honorary President. Olive disliked the limelight, preferring instead to work in the background at branch events. At most dances, Olive could be found helping out in the kitchen, but when events warranted her presence as Honorary President, she was happy to oblige. Olive was a lovely lady and her presence, input and sage advice at all Kilmarnock & District events will be sorely missed by everybody associated with the branch.

David Pinkerton, Kilmarnock & District Branch

Caroline Dunn

Caroline’s enjoyment of Scottish country dancing was obvious to all. For nearly 30 years, she brought fun and encouragement to everyone she danced with, either at home with Bristol RSCDS, around the British Isles, or abroad. When not dancing, Caroline had a listening ear, a generous nature, and was kind, perceptive, and wise. Bristol Branch benefitted from Caroline’s organisational skills as she was Chair once and Secretary twice. She planned branch weekends and Balls to mark significant branch anniversaries and helped to steer us successfully through Covid. Many musicians, teachers, and dancers have enjoyed Caroline’s and John’s hospitality as they have generously hosted them. Caroline had a particular gift with words, written or spoken; she could write a compelling proposal or broker an agreement in difficult circumstances whilst expressing concern, support, or displeasure.

Ruth Davies, Bristol Branch

Yvonne Gray

Yvonne was the treasured teacher of Braemar and Andrew Carnegie clubs in Auckland, NZ, for over twenty years. She brought enthusiasm, joy, and laughter to her clubs and a deep love of Scottish country dancing, which she passed on to everyone she taught. Yvonne was a sought-after teacher for Auckland-Northland Region classes and for compiling and briefing wonderful dance programmes for formal Region events. She valued the opportunity to teach in Australia, Japan, Canada, and the USA. Yvonne and Ian attended Scottish country dancing schools in Australia, Canada, the USA, and the UK and had an extensive, worldwide circle of SCD friends whose friendships they treasured and often hosted at their home in NZ. Her friends in NZ and overseas have a deep sense of gratitude for having known and been taught by such a special lady and for having shared in her joy of Scottish country dancing.

Gae Beckingsale,New Zealand Branch

Claire Hunter

It is with deep sadness and heavy hearts that the San Francisco Branch mourns the death of our fellow dancer and friend, Claire Hunter, who passed away November 9th at home after 20 months of living with pancreatic cancer. She was known for her love of California wildflowers and birds, graceful Scottish Country Dancing,

fierce forehand on the tennis court, and unwavering dedication to her family. Claire was born in Edinburgh, Scotland, and returned often with her children. At age 24, she went on holiday to San Francisco and fell in love with the openness, freedom, nature, and glorious weather in the San Francisco Bay Area. She was an active member of the San Francisco class and traveled the world to go dancing with her husband, Gary Scott. Claire danced with grace, elegance, and enthusiasm. A celebration of her life was held in Noe Valley, where she used to dance, in a packed church hall. We will all miss her more than words can express.

Trina Merriman, San Francisco Branch

Roger Malton

Involved in traditional music and dance as a youngster, Roger first played for Scottish country dancing at Newcastle University, then at the first Dunedin Dancers’ Festival in 1971. Roger’s skill as a fiddler was legendary. He was happiest playing with other musicians or trying out new music at home, at folk nights, and at festivals locally and abroad. Always very supportive of new dancers and musicians, Roger and his wife Deb made a great team. He encouraged and supported her, acting as a sounding board before and after events. Roger played at Summer School for step classes and online for lockdown classes. He served as Membership Secretary for Newcastle Branch, and on the Membership Services Committee. Many people enjoyed friendship and adventures with Roger. He was interesting, unpredictable, and fantastic company with a huge sense of fun. Very much a family man, Roger loved the outdoors. His curiosity and fund of knowledge was remarkable.

Caroline Brockbank, Newcastle Branch

Jane Rattray

Jane was a former Chair of the Branch, a long-standing Youth Coordinator, and, for many years, a general committee member. For a long time, she taught the children’s class as well and became a popular and well-regarded teacher of dancers of all ages. She was particularly active in teaching across rural Perthshire as well as being a committee member and MC at Stirling Castle Club. Rarely was Jane’s class, or any dance which she had organised, not infused with laughter and enjoyment but this lightness of touch belied someone who was an expert dancer and always willing to help those who needed encouragement. She was wise, witty and self-effacing and this combination made her a popular choice. Jane would always deliver a well-balanced programme that appealed to dancers at all levels. Jane will leave many happy memories and a great gap in the Scottish country dancing community.

Christopher Smith,Perth and Perthshire Branch

Mary Allan Ronnie

Mary was born in Glasgow and moved to New Zealand in 1937, but she never lost her accent. SCD was one of her chief passions. She began dancing in the early 1950s and helped to establish and became secretary-treasurer of the Otago/Southland Association. Mary’s concern that copyright was breached whenever dance instructions were duplicated led her and others to set up a mailorder bookshop, running it and the branch record shop. Mary was one of the first teaching certificate candidates to be examined in NZ and became one of the most successful and popular teachers in this country. She served in a variety of roles at the national level and was awarded Life Membership of the NZ Branch and the RSCDS Scroll of Honour. Mary, an erect, smiling, imposing figure on the dance floor with impeccable technique and phrasing and a formidable memory for dances, was an ideal partner who supported rather than criticized less skilled or confident dancers. Su Marshall, New Zealand Branch

Alan Ross

Alan’s musical talent was obvious; accordion lessons began at age 8. He was involved in running the fledgling Falkirk Accordion and Fiddle Club before joining the Lothian Dance Band at age 17, becoming one of the ‘Lothian Lads’ for 20 years. A visit to Dunblane Accordion and Fiddle Club in 1997 brought him into contact with Marissa Bryce, and the Alan Ross Scottish Dance Band began, the regular trio being completed by Gus Millar. Years of travel across the globe followed. More recently, Alan played for a week at Summer School, where he was the go-to man for the welcome dance. Tunes to inspire dancers flew from his box. Alan always insisted on original tunes, and he spent many hours researching and perfecting his sets, be it traditional, sing-along or Disney-inspired tunes. He had an encyclopedic knowledge of all things music-related. His many interests made this gentleman with a pocky sense of humour a joy, and conversations were never dull.

Janet Johnston, Stirling, Marissa Bryce and Gus Millar, Stirling Branch

Sadly Missed continued

Elizabeth (Betty) Sharpe

Betty Sharpe was an honorary life member of the NZ Branch. Born in Scotland, she started dancing in Auckland after emigrating. Betty taught numerous regional classes, weekend schools, summer schools, and in Australia. While she taught all levels, she was renowned as a teacher of beginners and for teacher training and examinations. Many dancers comment that they can still hear Betty coaching them through formations. Her lyrical voice graced the stage while briefing dances. She was affectionately known for her repetition of the phrase ‘Check your straight lines and good spacing.’ Betty served on the NZ Branch Technical Committee for many years. When she could no longer dance, she and Dan could be found in the kitchen at Summer Schools making morning tea for classes. It is impossible to think of Betty without also remembering Dan. Dancing was a huge part of their lives - as were their individual and collective contributions to the SCD community.

Su Marshall, New Zealand Branch

Hans van Zon

Just after leaving school, Hans started folk dancing. In the 50s, foreign dance teachers were invited to Holland, and Hans became hooked on SCD. Not having ‘British roots’, Dutch SCD enthusiasts were not allowed (then) to join the local expats’ group, so Hans started his own group, teaching in Dutch. The group was affiliated with the

RSCDS in 1961. Hans gained his certificate in 1963, and in 1966, the group became The Hague & District Branch. The group was active till 2015, and in these 55+ years, Hans was the driving force behind it: teacher, dancer, secretary/treasurer, writer of the magazine, organizer of trips to Summer School, weekend and day schools, dances, and demonstrations. And – besides his other hobbies – he also taught international folk dances. He received the Society’s Scroll and a Dutch royal recognition (like MBE). Hans inspired dancers, and several went on to teach new groups and spread SCD in the Netherlands.

Wanda vanTaanom,The Hague Branch

Barbara White

Barbara began dancing at school in Bath, aged just 8 years. A founder member of Bath Branch (1948), where she was honoured to meet Miss Milligan, she later became a founder member of the Cheshire Branch in 1984. In 1998, in recognition of 50 years of RSCDS membership, Barbara attended The Queen’s Reception in the Edinburgh City Chambers. Barbara loved to tell stories of this memorable day and of the ‘famous’ people that she had spoken to, including, of course, her late Majesty, Queen Elizabeth II. BarbaraWhite’sDiamondStrathspey was written to commemorate her 60th year as a Society member, and her 70th was celebrated by the Branch in 2018 (‘Three Score Years and Ten’ – Scottish Country Dancer, October 2018). Barbara continued dancing until recently, and in July, we plan to honour her wishes by holding a Memorial Dance.

C.Anne MacDonald, Cheshire Branch

Dancers’ Diary - April – December 2024

The Day School Diary is compiled by Ian Brockbank. Please send details to ian@scottishdance.net . Issue 39 will cover events from October 2024 to April 2025.

APRIL 2024

28 Mar-1 Apr Central Germany Advanced Course, Kuckucksnest/ Schlüchtern, Germany

6 Manchester Gay Gordons Day School, Stretford, Manchester, UK

19-20 TAS Spring Dance and Workshop, Chalmers Hall, Bridge of Allan, Scotland, UK

19-21 Washington DC Branch Capital Weekend

20 One day workshop and dance, Winnipeg, MB, Canada

26-28 PottersPairs annual workshop and ball, Oberlethe N. Germany

MAY 2024

10–11 Belfast Branch Weekend School, Northern Ireland, UK

10–11 Millport Weekend, Isle of Cumbrae, Scotland, UK

17–19 Duns May Weekend, Scotland, UK

17-19 Pawling Weekend, Copake NY

17-20 Vienna Whitsun Weekend for experienced dancers, Vienna, Austria

25 Frankfurt SCD Club “Belhaven” Workshop, Frankfurt, Germany

27-1 Jun Morland Week, Morland (near Penrith) Cumbria, UK

JUNE 2024

7–9 Midwest Scottish Weekend, Beaver Dam, Wisconsin, USA

14-16 RSCDS Ottawa Workshop-Retreat, Harrington, Quebec, Canada

26-30 Central Germany Int-Adv Summer Course, Kuckucksnest/ Schlüchtern, Germany

JULY 2024

7–13 Blue Ridge Scottish Dance School, Boone, North Carolina, USA

7-14 Queensland Branch Australian Winter School 2024, Gatton, Qld, Australia

23–4 Aug TAC Teacher Candidates Course, St. Catharines, Ontario,Canada

26–28 TAC Teachers Conference Weekend, St. Catharines, Ontario, Canada

28–4 Aug TAC Summer School, St.Catharines, Ontario, Canada

SEPTEMBER 2024

7 Thistle Club Dancers’ & Musician’s Workshops, Wing, LU7 0NN England

13–15 RSCDS Breton Branch, Scottish Weekend and Day School, Josselin, Brittany, France

13–16 International Branch dance weekend - Oslo, Norway

20-22 Central Germany 20 years Anniversary Weekend & AGM, Wetzlar, Germany

21 Afternoon Workshop/evening dance, West Park United Reformed Church, Leeds UK

28 Ayr Branch Half Day School, Troon

28 Cornwall Branch Musicians’ Workshop Day & Evening Dance

OCTOBER 2024

11-13 RSCDS Paris Branch 40th Anniversary Weekend, France

14-18 Holiday for Advanced Dancers, Torquay Leisure Hotels, Torquay, Devon, UK

17-20 Central Germany Intermediate Autumn Course, Kuckucksnest/Schlüchtern, Germany

18-20 RSCDS Sutton Coldfield Weekend of Dance at Rendezvous Hotel, Skipton UK

NOVEMBER 2024

1-3 Asilomar Weekend Workshop, Pacific Grove, CA, USA

9 Bristol RSCDS Day School & Dance, St Peter’s Church Hall, BS9 4LD, UK

9 Sheffield RSCDS Day School, Coal Aston, Sheffield, UK

20-24 Central Germany Very Advanced course, Kuckucksnest/ Schlüchtern, Germany

DECEMBER 2024

28-5 Jan NZ Branch Summer School, Wellington, New Zealand

The Day School Diary just has space for day and weekend schools. For other events in your area, please check http://www.scottishdance.net/events/ or:

l Scotland and Cumbria: https://scotdancediary.co.uk/

l Europe: http://www.celtic-circle.de/events.html

l Canada and USA: https://intercityscot.org/eventList.php