Maeve Clancy.  There isn’t much more of an Irish name than that.  By age 11 she knew she wanted four kids named Decklan, Patrick, Shea, and Finnegan (consecutively) and fervently desired that they follow in her footsteps: literally, due to her passion of Irish dancing. 

I’ve known Maeve for a decade.  From the first days I moved to my neighborhood I often saw her small frame bouncing in her driveway, her feet moving in rapid, jumpy motions.  It wasn’t until we became friends that I began to understand her unusual hobby—correction, obsession-- with Irish dancing.  At any given time you could find her:

1. Doodling Irish dance costumes in the latest trend.
2. Stealthily practicing her newest dance on her desk at school with her hands rather than her feet. Her fingers switching back and forth between an assortment of beats.
3. Explaining to me for the thousandth time the difference between a scissor kick and a high kick (to this day I am still fuzzy on the difference).

But, that was Maeve’s life, and still is.  Her love for the sport has boosted her to the most elite level of competition; this past March she performed in the largest major  there is, Worlds.

Although currently there are elite competitions, rankings, and new “it girls” in Irish dance, the sport started out with humble roots in the 1700’s (Velasquez).  It was typical that an Irish family would pass down traditional folk dances, which children would perform at little festivals or family gatherings (Cullinane).  Today, there are mostly competitions, but festivals are ever present as well, St. Patrick’s day being the most notable (and chaotic) one of them all (Ryan).  However, the sport began its competitive nature when dancing “schools” were opened; one of the first schools was taught by a “dance master” in Ireland, who deemed the activity “step-dancing”, which it is still called today.  Following the dance master’s model, several other schools were created, such as the Gaelic League and the London Gaelic League - the first of their kind to host competitions between dancers in locations such as London and even Butte, Montana in the U.S.  Eventually, the popularity of the sport spread to many states, including Minnesota, where schools like Mulhern Academy host avid young dancers like Maeve.

Mulhern Academy is the quintessential example of an Irish dance studio.  With dancers from ages 6 to over 22, there is a wide range of students, both boys and girls learning and putting out their best effort in every aspect.  To make a name for yourself in the dance community is no easy task, and it takes a while to be considered a true member of this tight knit group.  According to Clancy, she felt included when “[she] finally started winning, or having success in my feisanna ” (Clancy).  This theory of acceptance is often proven by the delay of the rite of passage, or a solo dress  which only comes by winning a select amount of competitions, and that can only be achieved by going to class on a regular basis. 

A typical Irish dance class consists of stretching, going over routines, and correcting even the littlest mistakes in the hope to achieve dance perfection.  With all this time spent together, it’s no wonder dancers have an extremely close relationship with their instructors, Maeve’s relationship being no different.  When Maeve danced at her first school, Corda Mór, I would hear endless praise for her teachers, their bubbly personalities, and jokes Maeve shared with them.  Like other dancers, this was a joyous and strong relationship.  However, relationships like these can change in an instant if the dancer chooses to switch schools, an act of betrayal in the dance community most would say, considering they’ve probably been competing on behalf of that teacher for years.  Similar to other athletes, there are certain circumstances in which dancers change teams or schools.  Maeve changed schools to Mulhern because she felt the level of difficulty and record of the opposing school was stronger.  Dancers also switch due to a desire for a fresh start, and the opportunity to reach a higher potential at another dancing institution.  And though, after transferring, the occurrences when former students meet teachers is awkward to say the least, they move forward, their eyes on the next routine, title, or competition.

At an average competition, you can find almost any dancer feverishly rehearsing and applying the vast amount of beauty products necessary to compete.  Something about a nine year old with a multi-trunk case of makeup can give onlookers the wrong idea about the sport.  With the mountains of curls on their wigs, spray tanned legs, glimmering dresses, and layers upon layers of makeup, it is easy to see why Irish dancing can potentially be thought of as another form of a pageant, a costly one at that, with the average costume cashing in at a $2500 price tag (Jig). But, despite the cost and perception of these additions, all of the makeup, tanner, and gemstones are strategically used to enhance the dancer and their abilities.  In fact, up until about 10 years ago, the over the top glitz and glam of the business was practically non-existent according to Clancy. 

An original costume would consist of details and colors reflecting Ireland’s heritage, rather than the gemstones that adorn virtually every dress now, but the tradition has been modified to fit the growth of the sport (Step Right Up!).  Because popularity has drastically increased from the introduction of Riverdance in 1996 (IrelandsEye), something extra is required to gain the judge’s attention.  Today, these eye-catching features include bold makeup and toned legs, to show off the dancers’ toned muscles and hopefully achieve the score they’ve been training all year for.
Many might still believe the sport is just a display of glitz and glamour, however, this theory can be debunked simply by observing these perseverant athletes.  With both hard shoe dances and soft shoe dances that are performed to folk music, it takes great dexterity to accomplish the routines and remember an intricate performance at a Feis.  When speaking to Maeve, a veteran performer, she says that it takes extreme strength to be considered an elite competitor.  You need highly toned thigh and calve muscles, strong abdominal and back muscles, as well as the mental toughness to hold your arms glued to your side for the entire time you’re in front of a cheering crowd.  If this weren’t all, the sport takes a serious toll on the competitor’s body. 

Like most dancers, Maeve has experienced several fractures in the last few years, but her injuries seem minimal to what can happen from excessive practice and overuse.  With injuries ranging from broken legs to hip problems, knee pain, and painful blisters, it isn’t a sport for the faint hearted, but dancers take it like champions  (Jig).  Not only Irish dancers, but all those who practice dance vehemently say that even if they fracture, break, or tear a part of their body they will do anything to continue dancing.  Their passion for dance outweighs possible consequences or prolonging injuries.  This high-pain tolerance is only one example of the dedication that goes into this sport, and overcoming this pain is only a small portion of how to be successful.

However, in order to become a champion in Irish dancing, one must conquer much more than blisters.  Maeve, with 10 years of experience in her back pocket, only made it to Worlds for the first time this year.  She has an athletic build, goes to class at least three times a week, practices on her own time for at least 5 hours per week , and does other exercises to strengthen her core, back, and leg muscles .  She puts in all the work, but in the end, your score is reliant on 6 minutes of dancing and whatever is thrown at you on a particular day.

Several of the worst things that can happen to you at a feis are as follows:

1) You forget something.  Whether that is a pair of shoes, your wig, dress, or makeup, it can be detrimental to not only the judges’ impression of you, but your mental state as well.
2) Though it is rare at large events, forgetting your dance or messing up is a reality.  One of the most embarrassing incidents is running into a fellow competitor on stage, it is not only very noticeable, but can affect your formation and the rest of your dance (Jig).
3) The judges simply don’t like you.  And while that seems petty, it is seen time and time again that it is the judges’ opinions on your dancing that matters.  If they don’t like a step, they will deduct you.  If they aren’t fans of the color of your dress, they will deduct you.   There are numerous ways to be docked points, it just depends on you and the judges (Clancy).

A feis day however, is composed of much more than judging, and starts at the top’ o the mornin’ , around 6:00 am.  From here, dancers eat a quick breakfast and begin getting ready-- applying makeup, pinning hair, putting on costumes, before going downstairs to the practice area  to do one last run through with teachers and stretching.  Next, depending on your age group, you perform several rounds against another competitor in both soft and hard shoe, which includes long waiting periods in between where it is easy to become anxious about how you danced or your next round.  However, it is advised that dancers visualize success and distract themselves with conversation, music, or stretching (Wright).  After long hours of waiting and a few minutes of dancing, the recall list  is announced.  Clancy had mixed feelings about her time at the World competition.  She was a little disappointed because she didn’t make the recall list (she placed 55th), but thrilled she was able to share the stage with World Champions.  After the recall list, those most elite dancers take the stage once more, dance their last rounds before another waiting period.  By this time, pins from wigs are starting to aggravate competitors, nerves are at their peak, and emotions run high because it is time for awards.

Awards typically start around 8:00pm.  Dancers, parents, and teachers alike fill the auditorium with bated breath, knowing that even one point could make or break futures in the sport.  As the competitors frantically tally up points and scores are finally revealed it is all too common to hear yells of joy, screams of anguish, and the cries of girls and boys  anywhere from age six to twenty-two.   Even the slimmest of margins can make a difference in rankings and determine who will be named one of the top dancers in the world and move on to make a name for themselves in a community such as this.

At some point in every dancers career though, they must ask themselves, how much longer can I do this, or where do I go from here? The pool of competitors does get smaller as girls move on to high school and college, but some compete for many years even after age twenty-two.  And, if dancers are interested in a career path in Irish dance, there are some options.  Performing in travelling shows like “Lord of the Dance, Feet of Flames, Celtic Tiger, and Riverdance” (Cullinane) is a way to continue a passion for dance and share it with others.

Despite all the hype around costumes, trophies and even the stress of shows, competitors like Clancy say this isn’t the number one defining characteristic of Irish dancing.  She believes it’s the people that make the sport what it is today.  Although it is commonly thought of as a “white girls” sport, the demographic of Irish dance is expanding each year, and the community is becoming more diverse.  The main countries of those who participate are: the United States, Ireland, Scotland, Canada and the United Kingdom, but it is expanding to other places like Germany, the Netherlands, and even South Africa.  With the network that is Irish dancing, to have friendships all over your own country and even ones across the globe is a possible reality, making these events so special.  And while some dancers, born into strong Irish families, may participate due to the sport’s affiliation with this culture, many choose this art form for the speed and technicality of the dances.  Others join because of the rapid growth of the sport and connections that form between fellow dancers and families.  Unlike ballet or other forms of dance, Irish dancers are relatively rare, so when competitions, classes, and workshops take place, it allows a network of participants to interact with each other and share in a large component of their lives; one that not many others understand.
Although to the naked eye Irish dance may not seem more than an active pageant, its complex makeup and rich history provide a hidden culture for those who participate in it.  Whether it’s a seasoned veteran performing worldwide in front of crowds of thousands or an eager little girl watching the hours tick by until dance class, Irish Dance truly is a relatively unknown passion, but means the World (literally) for those who have the dedication to pursue it.

Work Cited

Cullinane, John. "Irish Dance History - The History of Irish Dance." Irish Dance History - The History of Irish Dance. N.p., 2011. Web. 12 May 2015. .

"Irish Dance | Costumes." Irish Dance | Costumes. N.p., n.d. Web. 12 May 2015.

Jig. Dir. Sue Bourne. Perf. Julia O'Rourk and John Whitehurst. BBC Scotland, 2011. DVD.

Linnane, Katherine.  “Irish Jig.” Dance Spirit 8.2 (2004): 73-128.  EBSCO MegaFILE. Web. 11 May 2015.

O’Connell, Katie.  “Celtic Competition.” Dance Spirit 15.3 (2011): 60-63.  EBSCO MegaFILE. Web. 11 May 2015

Ryan, Libby. "A St. Paul Irish Dance School Kicks off St. Patrick's Day." Star Tribune. N.p., 16 Mar. 2015. Web. 11 May 2015.
“Step Right Up!.”  U.S Kids 8.8 (1995): 3. EBSCO MegaFILE. Web. 12 May 2015.
Velasquez, S.J. "Today's Irish Dancers Step Away From Stereotype." NPR. NPR, 27 Oct. 2014. Web. 12 May 2015. .

Wright, Elise. "Ready To Feis - Your Irish Dancing Source." Ready To Feis. N.p., n.d. Web. 20 May 2015. .