Handed Down | A unique collection of traditional Irish fiddle playing and dancing dedicated to County Down. Handed Down includes biographies & photographs of practitioners, audio and video recordings, and manuscripts hand written by fiddle players, the majority of whom were born in the 19th Century. HANDED DOWN Fiddle Playing and Dancing from East and Central County Down Welcome to Handed Down I hope you find something of interest in the following pages The Project Handed Down is a project that was initiated in 1976 to collect and archive fiddle music of East and Central County Down. It is ongoing and consists of two parts; (1) The book Handed Down: Country Fiddling and Dancing in East and Central Down published in 2013 (2) This website: handeddown.com Handed Down - book published in 2013 The aim of the book was to document the fiddle culture in East and Central County Down. Due to the large numbers of fiddlers playing for dancing , and the fact that their repertoir e was largely governed by the various dances in vogue, the dances and their evolution became increasingly relevant. Most cultures only record the well-known and famous musicians; however the strength of traditional music is in the playing at “grass roots” level, not purely the virtuoso players. For this reason the musicians included are by and large “ordinary” practicing fiddle players. Yes, several were legenda ry fiddle players of their generation and in their district; for example, John Simpson, Jimmy Edmond, Willie McCloy, and the Savages in East Down; Ned McCarry in the Low Country; Jimmy McClurg, Jimmy Ward, Willie Wallace and James McElroy in Central Down. However none of these are currently well-known outside the County, and in some cases not even within their own locality. The criteria on which fiddle players were selected is straightforward. Any fiddler that played up to and including the 1950s, the period when the County Down fiddle culture largely died out, is included. It is inevitable that many have been forgotten or have not come to my intention. Fiddle players practicing after this period are only recorded where they play a local repertoire or have played extensively with older County Down musicians. There are many fiddle players in County Down who play to a high standard technically but because they do not play a local repertoire or style we re not included. handeddow n.com - website published in 2024 The website is in reality an online repository where I store some of the material collected over the past 40+ years, also giving access to those interested in traditional fiddle playing. The aims and scope are similar to those of the book Handed Down . The overall number of fiddle players is reduced due to constraints on space. There are some 335 fiddlers in the book with around 190 of these, including a few additions, being detailed on the website. There are several additions to this including fiddle players that were not known to me in the period up to 2013. The website is also an opportunity to include the following; Audio and video items illustrating the fiddle music and dancing - u nfortunately there is little material of the older musicians or dancers. The wealth of locally written manuscripts by fiddlers who have long since passed on. Furthermore , it also gave me the opportunity to include some of my mentors and friends who did not meet the criteria of the book e.g. Ernie Swain (who introduced me to Irish Traditional Music and sold me my first tenor banjo), Geordie McAdam (we played music together for 46 years), Andy Dickson and Sam McCaughey. Sadly they all passed away in recent years - Ernie in 2018, Andy in 2020, Geordie and Sam in 2021. Personally, I have found this project most fulfilling and rewarding in so many areas. Initially I was playing the banjo in local sessions. In collecting fiddle lore I learned as much as I could about photography and made my own dark room for printing. In later learning the fiddle I studied violin making for four years. The close links between the music and dancing within County Down led me to dances and dancing classes, where I have played and danced extensively; these I have enjoyed immensely. However rewarding the se various facets have been, I have gained most from the company of countless musicians, dancers and their families, who come from different generations, backgrounds and walks of life. To them all I give my sincere thanks and gratitude. Nigel Boullier September 2024 A Personal Note I would like to thank e veryone that has assisted me in this project over the years - there have been so many. Manuscripts Jackie Donnan, Jim Moore, Linda Poole ( née Moore), Eugene McConville, Rosemary Cooper (née Quinn), Andy Cooper, John McAdam, Jim Bowman, Willie Lindsay, Jim Maguire (Chicago), Caoimhin Mac Aoidh. Audio Recordings Denis Calvert, Denis Reynolds, Bernie Stocks, Jim Moore, Dianna Skillen, Willie Lindsay, David Lowry, Jim Walsh , Davie Wylde, Davy Lennon, Seamus Sands. Video Recordings Roy Spence (Eclipse Promotions), Maurice McBride, Jim Lindsay, Willie Lindsay, Raymond and Kate Beattie, Denis Reynolds, Peter Lyons, Bernie Stocks, Angela Carroll. Photographs Jackie Donnan, Margaret (Sis) Cromie ( née Coey), Jim Moore, Tom McGonigle, Jim Creaney, Jim Blaney, Dianna Skillen, John Wallace, Alwyn Sinnamon, Andy Cooper, Philip Robinson, Sean Quinn, Mark Thompson, Bernie Graham, Bob Torrens, Jackie Burns, John Herron, Betty and John Jess, Gerry Curran, Bob Davey, Eugene McConville, Sammy Miskelly, Paul Egan, Donard McClean, Gordon Turnbull, Carol Wright, Stephen Boyd, Brian Stafford, Joanne Skehin , Alan Woods (ITMA), Stephen Boyd, Ben Healey, Bernie Brown. Maps Mark Thompson /Nigel Boullier Acknowledg ements I thank all those named above who gave me access to their photographs. If there is anyone who has been inadvertently omitted please contact me on the email below and I will acknowledge their ownership. The author, of the book Handed Down and the website handeddown.com, has carried out all work on a voluntary basis, specifically; The author has received no royalties nor received any payment for the collection of archive material, the compilation and writing of the book Handed Down: Country Fiddling and Dancing from East and Central Down . The author has received no proceeds from the sale of the book Handed Down . The author sought no funding, nor has received any payment for the website handeddown.com. Voluntary Status of the Project

Map of Central Down (West) William Kennedy The O'Neills of Kilpike, Banbridge The Legacy of the O'Neills The McKinleys of Drumnaferry Fr Tom McConville Marie Lavery, The Laverys of Redhill Jim Creaney of Mullaghcarton

Dances in Orange Halls Throughout my many years of research on fiddle playing and dancing in County Down the aspect that surprised me the most was the enormous number of Orange Halls, dotted throughout the County Down countryside, that had held regular dances in the period up to World War II. Up to the late 1920s there are records of traditional dances in over seventy Orange Halls. The dances consisted of the various figure dances, square dances and two-hand dances and step dances. The music in this period was played, in the main, on fiddles. By the late 1920s melodeons and accordions had begun to appear. From the fiddle player's perspective, Jimmy Savage (Postman Johnnie's James) jokingly claimed to be the most travelled fiddler in Ulster. When I asked him where his travels had taken him, he replied that he had played in 26 Orange Halls over the years. And these were not merely sporadic instances. In April 1988 Jimmy was made a presentation for having played the fiddle for the regular dance in Carrickmannon Orange Hall for fifty years. In 2009 I asked John Jess, who was then aged 100, what had got him interested in playing the fiddle at the early age of 7. He replied that his father was a steward at the Orange Hall nearby (Drumiller LOL No 582) and that his mother would have made the tea at any social functions. Being the eldest child he would accompany her and he was put in the corner. He said there were always fiddles being played, by a number of players, and he just had to play one. In 1988 fiddle player Jimmy Savage celebrated playing at the dance in Carrickmannon Orange Hall for 50 years. Benraw Orange Hall Benraw Orange Hall is situated in the quiet rural area south-east of the Windy Gap on the road to Leitrim Village. The following fiddlers regularly played for numerous dances in Benraw Hall; Willie, James & Ivor Herron, Arthur Annett, Joe Cinnamond John Redmond, John Seawright, Thomas Henry Gibson, Bertie McIlroy. Above; Benraw Orange Hall on the Slievenaboley Road. 2012 Benraw Orange Hall (circled) from the Windy Gap looking towards Leitrim Village and the Mourne Mountains. Legananny Orange Hall is in close proximity being less than a mile to the north (left), 2012. Legananny Orange Hall Legananny Orange Hall is situated in the quiet rural area east of the Windy Gap on the road to Leitrim Village. The following fiddlers all played regularly for various dances in Legananny Hall; Willie Herron, Arthur Annett, Joe Cinnamond Thomas Henry Gibson, Bertie McIlroy. Above; Legananny Orange Hall on Legananny Hall Road, 2012. Legananny Dolmen, a megalithic dolmen, is estimated to be 5,000 years old. Legananny Orange Hall is about six fields downhill on the left, 2012 Aughnaskeagh Orange Hall Aughnaskeagh Orange Hall is situated in the quiet rural area between the villages of Kinallen and Dromara. The following fiddlers all played regularly for various dances in Aughnaskeagh Hall; Willie & John Wallace, Sammy Thompson, John Jess, Walter Stronge, David Cherry. Right; Ticket for a Soiree & Ball at Aughnaskeagh Orange Hall on Friday 27th November 1903. Waringsford Orange Hall Waringsford Orange Hall is situated in Tullynisky Road in the village of Waringsford, which is itself between the villages of Kinallen and Dromara. The following fiddlers all played regularly for various dances in Waringsford Hall; Willie & John Wallace, Thomas Rodgers, William Corbett, Bob Graham, David Cherry, William Cherry, Howard Martin R. J. McMillan. Above; Waringsford Orange Hall on Tullyniskey Road, 2012. Above; Tickets for a Socials & Balls at Waringsford Orange Hall for Waringsford Golden Star RBP and Waringsford Rising Star, all on Friday evenings; 28th February 1919, 17th December 1920, 3rd February 1928 and 25th January 1929. Listooder Orange Hall Listooder Orange Hall, which was built in 1871, is situated on the edge of Listooder, a hamlet which lies approximately midway between the village of Crossgar and the town of Ballynahinch. The following fiddlers played regularly for various dances in Listooder Hall; Robert McVeigh, Henry Harris, Hugh Hunter, Toye William & young Willie Savage Bobby Geddis. Above; Listooder Orange Hall, 2012. Pikestone Orange Hall Pikestone Orange Hall is situated approximately midway between the towns of Killyleagh and Downpatrick. It is situated close to the main Killyleagh Road at the junction of the Greystown Road. It was built in the mid 1860s and is home to Ballygawley Standard LOL and Ballygawley Olive Leaf RBP. Initially single storey a second floor was added in 1932. The following fiddlers played regularly for various dances at the Pikestone; John Duff, Willie McCloy, Betty McIlroy (nee Donnan), William John & Samuel Crawford. Above; Pikestone Orange Hall, 2012. Pikestone derives its name from the period of the 1798 rebellion. Pikes were legal, as long as they were not sharp - being caught by the authorities with a sharpened pike was a hanging offence. A local blacksmith made the pikes; these were then sharpened and hidden beneath a large stone in the locality, hence the name the "Pikestone". Toye Orange Hall Toye Orange Hall is situated a couple of miles north of the town of Killyleagh, on the Comber Road. The following fiddlers played regularly for various dances at the Pikestone; Toye William & young Willie Savage, Jimmy Bonar, Betty McIlroy (nee Donnan), Jackie Don na n. Right; Toye Orange Hall 2017. Fiddle player Toye Willie Savage was Worshipful Master of the Toye Lodge for many years. He was involved in the building of the current hall in 1935 and was caretaker there after he retired from work. Raffrey Orange Hall Raffrey Orange Hall is situated a half mile north of the hamlet of Raffrey, on the Carrickmannon Road. The following fiddlers played regularly for various dances at Raffrey; Willie McCloy, May McVeigh (nee McCloy) Willie, Johnnie & Jimmy Hayes Tom Miskelly. Above; Raffrey Orange Hall on the Carrickmannon Road, 2012. The Magzenna Waltz. Raffrey OH, 2012 The Dancers in the foreground are Ivan & Jean Wilson Accordionist - Sammy Miskelly 16 Steps - the 5th Figure of the Caledonians. Raffrey OH, 2012 Accordionist - Sammy Miskelly Raffrey OH, 2012 The dancer in the centre is fiddle player Jim Moore from Dromara still enjoying dancing at 92. Some of the Orange Halls with traditional Dances to Fiddle Music East Down Ardmillan Ballymacreely Carrickmannon Crossgar Drumreagh Killinchy Killyleagh Listooder Pikestone Raffrey Toye Ards Kircubbin Newtownards Portavogie True Blues Volunteer's Lecale Ballyclander Ballykilbeg Central Ballynahinch Ballykine Ballylone Ballymaglave Ballynahinch Burren Cumberbridge Glassdrumman Legacurry Magheraknock Spa Upper Crossgar e Central West Blackscull Clogher Donaghcloney Drumnaferry Islandderry Magherally Central Dromara Annahilt Aughnaskeagh Ballaney Ballygowan Ballykeel Ballyknock Ballymacormick Ballyroney Ballyvicknakelly Benraw Carnew Closkelt Derryneill Drumiller Dromara Dromore Drumlough Drumnavaddy Finnis Gransha Kilmacrew Central Dromara Kilntown Kilwarlin Kinallen Halliday's Bridge Legananny Lisnaward Listullycurran Magherabeg Moneyslane Mount Ida Quilly Skeagh Taughblane Tullynisky Tullynore Waringsford Whitehill Map showing the Locations of the above named Orange Halls

The O'Neill Manuscript James O'Neill (1862 - 1949) was born in Kilpike, near Banbridge. He was taught the fiddle by his father John who was an excellent player. When James left Ulster for Chicago around 1881 he brought with him his father's collection of Irish music, including both printed collections and John's own handwritten manuscripts. These five pieces of music, penned by James O'Neill in the period 1889 - 1902, are thought to be his own compositions. With the kind permission Caoimhin Mac Aoidh and Jim Maguire (Chicago). 1 Reel - The Spinner's Delight (HD ref JO'N446) Reel - The Maple Tree (HD ref JO'N446) 2 Hornpipe - Untitled Hornpipe (HD ref JO'N447) Hornpipe - Untitled Hornpipe (HD ref JO'N447) Hornpipe - Untitled Hornpipe (HD ref JO'N447 )

Ernie Swain Jig - Up Sligo Ernie Swain plays a jig he called Up Sligo on the fiddle that belonged to the legendary Sligo fiddle player Michael Coleman. Recorded in Dundalk, 12th December 2012.

Various Local Dances Dances were common throughout County Down through numerous generations. The type of venues varied in the extreme. At one end of the social spectrum the gentry and nobility were holding functions and balls in the "big houses", which included many of the European dance forms that may have in vogue at the time. Many of these dances were passed down to the commonality. At the other end of the social scale the common folk held a variety of dances, some regular and organised, most impromptu and held in cottages and farms. The following dances are a small number of dances showing the variety both geographically and type of venue, which range from farms, barn lofts to school houses. Much of information has been passed down through several generations of fiddle players or dancers. Other sources are gleaned from local newspapers of the period. Kearney Village School-House & Tara Ned McCarry, who was raised at Craigarodden Upper, ran a dancing class in the School-house in Kearney Village where he lived in later life. He also played for dancing at Tara. Both Kearney and Tara are on the south-eastern tip of the Ards Peninsula. Above; Kearney Village Left; Millen Bay, photo taken from Tara. Kearney where Ned McCarry lived, is on the horizon in the centre. The deserted clachan of Craigarodden Upper, where Ned was raised, is in the hinterland to the left. The Ballyclander Ball Surely one of the smallest (size-wise) regular dances in County Down must have been the “Ballyclander Ballroom”, as it was affectionately known locally. The “Ballroom” measured only 22 x 18 x 15 feet, and was reputed to have up to 30 people “bunged” in each Saturday night, and is thought to be Ballyclander Orange Hall. Ballyclander is a townland about a mile from Church Ballee, near Ardglass in Lecale. Above; The Ballyclander Ballroom in the past. Above; The Ballyclander Ballroom in 2012. The dance was at its peak in the late 1800s, and like many of the dances it has been immortalised in local poetry. “The Ballyclander Ball”, by Alec Millar of Ballyclander, notes some of the popular dances as; “an Irish reel”, “the Ironmonger’s Jig”, and the “cake walk”. The Ballyclander Ball by Alec Millar Och, so many purty faces I’m delighted for to see Of wee childer, wives and sweethearts That ornament Ballee So, if yiz pay attenetion An’ lissen wan an’ all, I’ll sing to you a ditty On the Ballyclander Ball. Chorus; There was Jack Dickson, from Australia That chap of high renown, And Professors Neill and Kelly From the Scadden and the Town, But the names of the nobility I cannot not recall That gathered on that famous night To patronise the Ball. 2. When the big wigs all assembled The tables they sat roun’; Sure they supped their porter up like ducks And with whiskey rinshed it down, There waz sassages and fill-me-quick, Fat puddins, pies, an’ all, And potted harns and pigsfeet fresh From Johnny Morgan’s stall. Chorus; There wuz the Thompsons from Ballyclander, And the Stewarts just o’er the way; Montgomery from Ballylig And Caven from Brimstone Brae. Och, such a grand assimbly You cudn’t find at all As came that night with all their might To patronise the Ball. 3. When the supper it was over The dancin’ did begin, And their heads and feet went reelin’ For they had the whiskey in; And such a bit of tum’lin’ Yez niver sa’, I’m sure, There wuz bits of eyes and noses found Nixt mornin’ on the flute. Chorus; There was John and Pat Fitzsimons, And our ould friend Daniel Carr – To find any better sportsman A man would travel far. Some big nights we’ve spent together And upon their knees they’d crawl, Out of their beds at midnight To patronise the Ball. 4. I thought I niver wud survive, For cud I move a peg When Fitzsimons sang “Still his Whuskers Grew” And “Maria’s Wooden Leg.” Then Professor Neill got on the boards And caused a loud whiroo With “Pat Miles the Irish Poet” And “Cock-a-doodle-do”. Chorus; There wuz Albert Conn, from Ardglass, And Charlie Martin too; Jack Lascelles from Downpatrick, Three Jolly boys and true, Now every man wuz dressed to death The regular fal de dol, ‘Twas a pity we’d no ladies axed To patronise the Ball. 5. Then Daniel Carr an Irish reel He dances both nate an’ trig, While Professor Kelly he did fut “The Ironmonger’s Jig”, Jack Lascelles danced the cake-walk And some cudn’t walk at all, When they tried to stan’ without a hoult It was tumble, rise and fall. Chorus; There wuz Millar from Ballygallum And Douglas Napier That gallant son of Erin Who’s respected far an’ near, With his artistic handicraft He adorned our clubroom wall With burnt-stick pictures ere he came To patronise the Ball. 6. The speeches that thim big bugs made Wuz illgant to hear, But they hadn’t the eddycation To converse with young Napier. He spoke on emigration To the lands across the say, Ould Ireland’s wrongs, the rights of man And the rents they has to pay. Chorus: There wuz McMechan for Ballybrannagh, George Martin from Lismore, Hugh Carson from Corbally, We had them all before. They’re the essence of good breedin’ And whatever might befall, Their prescence we relied upon To patronise the Ball. The Clea Ball In the late 1880s the Clea Ball was a dance regularly held at Moore’s of the Clea, in the half loft in the yard of Robert Moore’s farm on Clay Road a few miles north of Killyleagh. The Moore Family were regulars at the dance at the New Line Tennis Club. Above; The half loft to the rear Robert Moore's farm at the Clea, where the "Clea Ball" was held. Above; The derelict farmhouse of Robert Moore on the Clay Road, close to the Clea Lough. This poem, recalled by Mrs Lindsay (Willie Lindsay’s mother) was written, in memory of the Clea Ball, in the late 1890’s. A Few Lines in Memory of Clea Ball Snoring Bab and Walloping Jean, and baby beetle was on the scene And John the son did wink his best, to see that no one was oppressed Hans Stephenson with two in hand, did make a speech but not on land And old Jock Boyd with his game leg, Soapy Sammy minus Meg The ladies they were rather scarce, and some of them a little fierce The Miss McG’s they took the Ball, for style and appearance that was all But Tailor Moore he did not go, he thought it better not just so But Miss Delina she was there, quite a specimen that’s rare Murland Henderson who deals in chaff, and buttermilk he made them laugh J McConnell he did not like, to let the half crown out of sight But on the night that May was wed, John was numbered with the fed Two masons from the Board you know, the ones that built the byre O’ And D proposed to Miss McG, but oh how quick she ran away Of carpenters there was just a few, Drunken Hayes and the sober Jew The Dairyman’s wife with her grey head, counts loss and profit all night in bed But husband Tom could not be matched, so all that night he was on watch As for S Cochrane we cannot say much as he is considered a kind of lurch The Misses Marshall they thought it best, not to meddle with that nest As delph and china it went thither, it did not suit them altogether They had fiddler Edmonds on the drum, to cause vibration and give room He sighted long and took good aim, and then at last he got the range As D. Moore with lamp in hand, did early come at the command And later on came gentle Ann, with loving smiles she did him fawn Young Cursing Moore from Lisnaw Brae, had got tight somewhere on that day He was not pleasant to behold, just learned from father P I’m told Old Mrs Connolly was there also, the lies as usual they did flow And to these lines I draw a close, to the next month to see how goes. Ardkeen School-House The Ardkeen and Ards Grand Social Reunion was held in the Ardkeen School-House on Easter Monday night 1908. It commenced at 8.30 and lasted until 3 o'clock the following morning. Tea was served at 11.30. Many songs were sung, the main contributors being Mrs J H Dynes and Rev J Nolan P.P. The dance music was played by Francis Donnelly the fiddle player. Clanvaraghan School-House Clanvaraghan School had two classrooms which a dividing stud wall. This could be removed to provide more space. During the 1930/40s the school rooms were opened up for dancing. John Burns, who lived in close proximity played there with, on occasion, James and Gus McElroy. Right; The long disused Clanvaraghan National School was built in 1913. Photo in 2012. McElroy's Hall, Drumnaquoile McElroy's Hall was to the rear of McElroy's pub at Drumnaquoile. Wednesday night sessions as well as impromptu sessions were a regular occurrence for many years. The McElroy Céilí Band played there regularly - whilst members of the family regularly played in the sessions. Greyabbey Village Hall, Greyabbey In the early 1990s Philip Robinson and Will McAvoy started a weekly dancing class in Greyabbey Village Hall. Both Will and Philip were from Greyabbey (Will was raised on Mid-isle, an island in Strangford Lough, off Greyabbey connected to the peninsula at low water by a causeway). Will had regularly attended Mrs Jane Simmington’s house dances where Jackie Donnan played the music, so Jackie was approached to play the fiddle. The dances were taught initially by Mrs Jeannie Peake who brought her husband James and her sister Mrs Christina McBride along. Prior to the start of the class Jackie Donnan had assisted Mrs Peake and Mrs McBride in writing down the dances and refreshing any parts that they may have forgotten over the years. left to right; Nigel Boullier, Jeannie Peak, Jim Cuthbertson, Lydia McMullen, Jackie Donnan, Margaret Davidson, James Peak, Tina McBride Philip and Will’s intention was to keep the old local dances alive and they found a willing partner in Jackie Donnan. The old local dances were those defined as Country or Old-time Dancing including figure dances, square dances and round dances, as danced throughout the community in the 1800s, before being superseded in many areas in the 20th Century by céilí dancing, ballroom and sequence dancing. The dance continued for 24 years, ending in 2016 due to a fall off in numbers. Greyabbey Village Hall, 2006. American students visit the weekly dancing class Back row - US student, Philip Robinson, Andy Brown, US student, John Bailie, Phyllis Goodall, US student, Hammy Lawther, Betty Schofield, Betty Woods, Margaret Gibson, John Davidson, Jim Cuthbertson Middle row - Rachel McAvoy, US students Front row - two US students, Nigel Boullier (fiddle), Jackie Donnan (fiddle), Bob Traite Map showing Locations of; (a) Crossroads Dancing & Outdoor Events (b) Various Local Dances

Dancing in Ireland An early reference to dancing in Ireland was made in 1600 by Fynes Moryson, an agent representing Queen Elizabeth 1, where he refers to “countrey dances”. Since Moryson would have been familiar with country dancing in England, it is likely that the “countrey dances” to which he referred in Ireland would have been of a similar nature. In his reference Moryson also mentions sword and withy dances. (H. Brennan, The Story of Irish Dance , P16.) Interestingly, two 17th Century Irish poets writing in Gaelic, Daithí O’Bruadair from County Cork and Aogan O’Rathaille from Sliabh Luachra, both referred to sword and withe dances. (Dr. John P. Cullinane, Part 2 , Further Aspects of the History of Irish Dancing 1990: Page 19) [A withe is a stick, sometimes willow – sword and stick dances have been noted in many world cultures through the ages.] Another Englishman, Thomas Dineley, travelled through Ireland from Dublin to Limerick in 1680/81; in the journal of his travels he noted the Irish as dancing “the long dance”. (H. Brennan, The Story of Irish Dance , 1999: Page 18) Even earlier references have been made to “the hay”, a dance which is thought to have travelled from France to England and later to Ireland in the 1500s. The “hay or hey” (thought to derive from the French “haie”) is described in English dancing as “the centuries-old hey” a soft-shoe walking and weaving figure. (R. Hall, I never played to many posh dances , Musical Traditions supplement no. 2, 1990, Page 77.) “One of the most pleasing movements in reel or country dancing, and which answers all the principles varying at once, is what they call the HAY. The figure of it altogether represents a number of serpentine lines, interlacing or intervolving each other.” (A Treatise on The Theory and Practice of Dancing , by James P. Cassidy, Professor of Dancing, Dublin: 1810) One of the earliest printed publications on English dancing is John Playford’s The English Dancing-Master , which was published on 19th March 1651. This was an enormous success as seventeen editions continued to be issued between 1651 and 1728; the initial edition containing dances numbering 104 which increased to 918 by the last edition. The first edition contained, longways, circle, squares and single line dances. Longways, later becoming known as country dances, consisted of two lines of dancers facing each other. Many of these dances could accommodate any number of couples, who could join in at any time. By the last edition of Playford’s the popularity of the longways was such that the number of longways dances had increased from 80 to 904. Playford’s dances also highlight another important development, in respect of their social nature. The nature of these dances eliminated “social rank”, and it is thought that the increased popularity of the longways in the late 1600s indicated that this was a form of dance for both high and low society. Reg Hall in his book on the life of the Sussex musician, Scan Tester, defines the country dance in the form that it has survived into the twentieth century; “A country dance can be described simply as a line of men facing a line of women. Usually there are four eight-bar figures, the fourth being a progression, where the top couple finishes at the bottom of the set, and thus every other couple moves down one place and the remaining couples move up one place.” (R. Hall, I never played to many posh dances , Musical Traditions supplement no. 2, 1990, page 90.) By the late 1600s these dances were not only popular in England, but they swept the continent. The French called the “country-dance” the “contre-danse”, which was later brought back to the English as the “contra-dance”. The French also adapted the long lines into square formations, which eventually distilled down to a dance for four couples. At first these became known as French contra-dances, but later took the name of “cotillons” (later anglicized as “cotillions”), referring to the French word for petticoat. (S. Foster Damon, The History of Square Dancing , Massachusetts, 1957, page 7) By the early 1700s popular dances in Ireland are thought to consist of country dances, jigs, minuets and hornpipes, although these were probably not in the form as danced today. An early reference to these dances is; “…..the well-known Cork dancer (and teacher of House Sets), Joe O’Donovan, has found reference to an agreement between Charles Staunton dancing master and William Bailey dated October 1718 to teach the children of the latter “jig minnets, hornpipes and country dances”. Bailey, who lived in Ballincollig, West Cork, (now a Cork city suburb) was to pay the dance master two guineas when the children danced perfectly and not before.” (Dr. John P. Cullinane, Part 2 , Further Aspects of the History of Irish Dancing 1990, page 27) The term jig, thought to have originated from the Italian “giga”, first appeared in the Irish form in Neal’s Celebrated Irish Tunes, which was published in 1724. The hornpipe, thought to be English in origin, first appeared in several of Playford’s dances in the mid 1600s and probably evolved into its present form in the mid-to-late1700s. Arthur Young, an English geographer who travelled around Ireland in the late 1770s, made the following observations, which were published in his work A Tour in Ireland ; “All the poor people, both men and women, learn to dance, and are exceedingly fond of the amusement. A ragged lad, without shoes or stockings, has been seen in a mud barn, leading up a girl in the same trim for a minuet: the love of dancing and musick are almost universal amongst them.” (September 1776 - Page 366) "Dancing - is very general among the poor people, almost universal in every cabin. Dancing-masters of their own rank travel through the country from cabbin to cabbin, with a piper or blind fiddler; and the pay is sixpence a quarter. It is an absolute system of education. Weddings are always celebrated with much dancing ; and a Sunday rarely passes without a dance; there are very few among them who will not, after a hard day's work, gladly walk seven miles to have a dance." . (October 1777 - Page 446) "Besides the Irish jig, which they dance with a most luxuriant expression, minuets and country dances are taught, and I even hear some talk of cotillions coming in.” The 1790s saw the arrival of two dance forms that would eventually transform traditional dance in Ireland for the next two centuries and beyond – the reel and the quadrille. The reel, by the twentieth cen tury the most popular dance rhythm with both dancers and musicians alike, was introduced into Ireland from Scotland. The term reel is thought to derive from the Anglo-Saxon word “rulla”, which means to whirl. There are no records regarding when, even roughly, reels began to be played in Ireland. Recognised authorities on the subject however suggest that reels, whilst having been danced and played in Scotland since the 1600s, didn’t arrive until the late 1700s. Breandán Breathnach states there is a very strong case that reels have a Scots ancestry and they appear to have evolved in the middle of the 18th Century. (Folk Music and dances of Ireland , Breandán Breathnach, 1971, Page 62). Liz Doherty states that reels were played in Scotland in 1590 with the modern form being brought from there in the late 1700s. (The Companion to Irish Traditional Music , edited by Fintan Vallely, 1999, Page 308) From the dancing perspective a perusal of newspapers in the 18th and early 19th Centuries shows that in the mid to late 1700s the Dancing Masters in Ulster were teaching dances popular in London and Paris. These dances included, amongst many others, Figure Dances, Minuets, Hornpipes, Cotillions and latterly the Quadrilles. By 1794 however the emphasis changed to fashionable dances from London and Edinburgh. The “Scots Stile” was in vogue; the fashionable dances were the reel and strathspey. This is illustrated in the webpage - Introduction of Dances . In the period 1770s to 1790s the focus of popular dancing in British and Irish High Society had been on the French Court, where references were often made regarding “elegant French Dancing”. What brought about the dramatic change in popular dancing when in 1794 the emphasis turned to the Scots style? This is discussed on page 38. Reel The most dramatic change to dancing in Ireland up to the nineteenth century was the introduction of the Quadrilles. The Quadrilles originated in France, where they as “square” dances, evolved from cotillions. Academics generally suggest that quadrilles were introduced into Ireland by soldiers returning from the Napoleonic Wars around 1816 (The Story of Irish Dance , Helen Brennan, 1999; Page 23 and Toss the Feathers , Pat Murphy, 1996; Page 40). There is evidence, however, that shows a different timeline on events. “A Collection of the most elegant Italian and French Dances, Quadrilles and Cotillions” were being taught by Mr Kelly, the Dancing Master to the College of Armagh in 1792, as illustrated below. The dramatic effect of the quadrilles was recorded by Lewis Melville his publication in the Beaux of the Regency ; “It was the introduction of a new dance that shock, not only Almack’s, but all England to its foundations. In 1815 Lady Jersey and Count Aldegonde, Lady Harriet Butler and Mr Montgomery, Lady Susan Ryde and Mr Montagu, and Miss Montgomery and Mr Charles Standish (or, some authorities say, Mr Haytey) danced the first set of quadrilles, which presented by such sponsors, at once became fashionable.” (The Beaux of the Regency , Vol. 1 , Lewis Melville, 1908, page 246.) Certainly by the early 1800s reels and quadrilles had taken root in Ireland as recorded in the Ordinance Survey memoirs of County Antrim (recorded 1838 - 9). Parish of Carnmoney …Dancing is their favourite amusement. Scarce a month passes without there being a dance in some of the farmers’ houses, either in this parish or in those immediately adjoining it. Reels, country dances and sometimes quadrilles are the usual figures. The violin is the usual instrument, but the Highland pipes are also sometimes introduced. They dance pretty well and rather lightly. The refreshment consists of punch and biscuits. The dances got up among the factory people are not by any means conducted with the same propriety as those at the farmers’ houses. The emergence of the Quadrilles had a massive effect on the dancing repertoire of the common folk of Ireland because it gradually evolved into what is commonly known today as set dancing. The tunes played for the Quadrilles would originally have been simple tunes in 2/4 or 6/8 time. Over a period of time jigs, reels and hornpipes were introduced, which increased the tempo of dancing. In many areas the step-dancing jig and reel steps were introduced to the quadrilles, replacing the original promenade or marching step. Around the same period that the Quadrilles were achieving unparalleled popularity, the dancing masters again turned to the continent and imported round dancing. This was entirely different to any dancing that had gone before as partners embraced one another, the gent holding the lady around the waist as they danced as partners around the ballroom. This gave dancers a degree of independence that had not previously been enjoyed in “polite” society. Round dancing isn’t usually discussed in terms of dancing in Ireland but these dances were in general circulation amongst the general populace from the early to mid 19th Century and they still exist in certain areas today – in fact there has been recent resurgence of interest in two-hand dances among the set dancing fraternity in recent years, with the introduction of two-hand workshops. Quadrilles In contrast to the dances noted earlier, which involve a number of people (country dances cou ld involve a large number of men facing an equal number of women; quadrilles involve four couples) two-hand dancing involves simply one man and one woman. Since the two-hand dances progress in an anticlockwise around the dance floor they are generally called “round dances”. The Origin and Development of Two-hand Dances (Round Dances) The waltz in its current form shot to popularit y around 1812 in the ballrooms of Paris and spread rapidly throughout Europe. However it is thought to have originated much earlier, probably from a figure of the Contredanse. The Waltz, in what may be called its “allemande” form, that is with entwining arm-movements but without the close hold, was undoubtedly known in England a number of years before 1812, and as such was probably used as a figure of a Cotillon or Contredanse. The word “waltz” simply means to turn, and the modern dance is derived from a turning dance of the peasants. (Social Dances of t he XIX Century , P.J.S. Richardson, 1960: Pages 41 & 42) Lewis Melville also recorded the sensation as a new dance craze emerged in English society; The quadrilles evoked much interest, but this was nothing compared with the sensation that had been caused two years earlier by the introduction from abroad of the waltz. Some such dance, it appears, had been known in England nearly a score of years before, for in The Times of February 19, 1796, we read: “The balls at Southampton are exceedingly lively and well-attended. The young ladies are particularly favourable to a German dance, called the Volse: for squeezing, hugging etc, it is excellent, and more than one Lady has actually fainted in the middle of it.” (The Beaux of the Regency , Vol. 1, Lewis Melville, 1908, page 246.) Waltz Opinions are divided with regards to the origin of the polka. Most authorities think the term “polka” derived from “pulka” meaning half-step. One of the more popular possibilities was that the dance was collected by Josef Neruda when he saw a peasant girl dancing to her own vocal accompaniment in Bohemia around 1830. He, or his followers, subsequently introduced the polka to high society in Prague in 1835. (Social Dances of the XIX Century , P.J.S. Richardson, 1960: Page 81) Another theory, that of Dr Arthur Michel, is that it was a Bohemian folk dance where he suggests the name derived from “the Polish Girl”. Friedrich Albert Zorn states that he travelled; At that time the author travelled from Odessa to Vienna and Paris, for no other reason than to visit the most celebrated teachers of the Polka. And what did he find? Only the dance which, as a child, he had learned from his father under the name of the “Scotch Waltz,” and which he had shown to his pupils in Dresden in 1835, in Christiana in 1836 and in Paris in 1837. (Grammar of the Art of Dancing , Theoretical and Practical , 1887, Friedrich Albert Zorn: Page 233) And another, in The World History of the Dance , 1937, Curt Sachs states; The polka step itself was nothing new. Its simple pattern was a combination of the old fleuret and pas de bourrée together with the so-called schottische step, with which the people of the times were familiar from the écossaise. This is why the polka, when it made its appearance in the German cities after 1830, was called the Schottische. (Social Dances of the XIX Century , P.J.S. Richardson, 1960: Page 82) Regardless of its history the polka was introduced into Paris in 1843 where it achieved unparalleled popularity spreading throughout western dance culture. Polka The mazurka originally evolved from a Polish folk dance from the province of Masovia, and was apparently popular and subsequently spread into high society by the Polish army. In arrived in England around 1845 and was danced in sets of four or eight couples. The polka mazurka is thought to have been based on the polka and set to mazurka music and rhythm. Generally titled “the mazurka” the polka mazurka is still danced as a round dance in Counties Donegal and Down. (Social Dances of the XIX Century , P.J.S. Richardson, 1960: Pages 96-97) Mazurka and Polka Mazurka The schottische was another round dance finding popularity in the British Isles around the mid nineteenth century; it first appeared in England around 1848.[1] As with many of the round dances there are a number of opinions put forward by academics, one that it was essentially German in character and music, and a favourite amongst German peasants,[2] another that it had been danced in Bavaria under the name ‘Rheinlӓnder’ since 1844, where it was known as the ‘Bavarian Polka’.[3] [1] P.J.S. Richardson, Social Dances of the XIX Century, 1960, p. 106. [2] Routledge’s, Manual of Etiquette, The Ballroom Guide, 1860, p. 96. [3] Friedrich Albert Zorn, The Grammar of the Art of Dancing, Theoretical and Practical, 1887, p. 247. It is a great favourite with the German peasantry; and although its name, the Schottische, would seem to imply that it came from Scotland, there is no doubt that it is essentially German alike in character and in music. (Routledge’s, Manual of Etiquette, The Ballroom Guide, 1860: Page 96) In the year 1850 there appeared in all parts of Europe the “Schottische”, a round dance which had, as early as 1844, been executed in Bavaria under the name “Rheinlӓnder”, and in the Rhenish countries it was known as the “Bavarian Polka”. The music, which is in 2-4 measure, is rendered very slowly, with the effect of 4-4 time. (The Grammar of the Art of Dancing , Albert Zorn, 1887: Page 247) The Schottische was invented by the dancing master Markowski nearly a hundred years after the appearance of the Écossaise. This couple dance was given the rhythm of the Strathspey and may have been from the first danced to Scottish airs, but its name and association with Scotland clearly exercised a great appeal. It does not seem to have had any vogue in Paris and it is not mentioned by Cellarius in his book La Danse des Salons , 1847. But it found favour in North Britain, where the rhythm (now styled Schottische) was long familiar, and not only in Scotland. When the invented Scottische couple dance reached the Border it found a ready soil in which to root, for there the reels and hornpipes had that “snap” which is now regarded as the distinctive feature of Scottish traditional dance music. The Keel Row is a Tyneside song, and that is in Schottische time. A “broken” hornpipe played with snap can be made indistinguishable from a Schottische. It was no doubt the appreciation of the exciting effect of the Scottish snap which prompted the Polish dancing master to his invention. (Douglas Kennedy, the Director of the English Folk Dance and Song Society, as quoted in Social Dances of the XIX Century , P.J.S. Richardson, 1960: Page 103) [The Écossaise was a popular dance during this period (the 1st decade of the 19th Century). It seems to have been a lively and spirited measure in 2/4 time, partaking partly of the nature of a Reel and partly of a Country Dance... In spite of its name, this Écossaise was definitely of French origin, though Scottish music was used…….. It is of course, possible that this original Écossaise was imported into France by Jacobite refugees after 1745 (Battle of Culloden). (Social Dances of the XIX Century , P.J.S. Richardson, 1960: Page 53)] Schottische “La Varsoviana” or “The Varsovienna” was a round dance that achieved limited popularity in Ballroom society in the mid 19th Century; however it is still danced regularly in County Down. It was devised by a Spanish dancing teacher called Désiré and was first danced in Paris around 1853. (Social Dances of the XIX Century, P.J.S. Richardson, 1960: Page 97) Varsovianna Authorities agree that the barndance was originally calle d “the Military Schottische”, is related to “the Pas de Quatre”, and that it was introduced into England from America around 1886. The People’s Ballroom Guide and Manual of Dancing , 1905: Page 37, edited by James Scott Skinner states; The dance hails from America, its invention being credited to Mr M B Gilbert, of Boston; and it was brought over the Atlantic and introduced into this country in 1886 by Mr K M Sellars, Professor of Dancing in Glasgow and Ayr. Mr P J S Richardson in his Social Dances of the XIX Century , 1960: Page 118 generally concurs with added information; About 1888 a new dance which had been known in America for some years arrived in this country and was taken up by all grades of Society. This was the Military Schottische or Barn Dance. Like the Schottische which had been danced in this country in the mid-century, this consisted of two parts each of two bars. In the first the couple, side by side, advanced along the line of dance. In the second they did a complete waltz turn. I have never discovered who was the inventor. The Military Schottische, to give the dance its correct title, was first done to a tune “Dancing in the Barn”, hence it was more generally known in this country as the Barn Dance. Barndance

Dances, Box Socials, Surprise Parties & Games! When I visited John Jess (1909 – 2010) in 2009 he was quick to show me his fiddle that he had played for over 90 years; he proudly commented “you couldn’t imagine the amount of money this wee lady’s made for me!” [John started playing the fiddle at the tender age of 7 purely because he loved the music. After many years playing at dances and social gatherings he was still playing the fiddle at home into his 90s. Clearly his love of fiddle music was his main driver; however earning money was also a factor.] I asked John about the various dances he had played at; these were numerous, where dances were regularly held on Friday nights in various local halls and regular dancing classes were held two or three nights a week in different halls within the area. The dances were similar to those that John Simpson, Willie McCloy and Willie Savage played for. John described the 1920/30s craze for “Surprise Parties” where a number of folk were organised by a friend to arrive at an unsuspecting house for a private party and dance, usually to celebrate a birthday or the like. “Box Socials” or “Canadian Box Socials” were also popular. At these social functions young ladies would bake a cake and put it in a box. These were auctioned during the latter half of the evening and the gentleman who was the highest bidder not only got the cake but walked the young lady home as well. John sadly declared that the women ruined the Box Socials as they would put a distinguishing feature on the box, or tie the box with a recognisable ribbon to ensure, by prior arrangement, that the man of their choice successfully bid for them. But John’s most surprising reply was to my question; “Well John, you played at loads of dances in all these various halls, but did you ever play in Church Halls?” “Oh, I’d say I did.” “For dancing?” “No, no, no. For games.” I enquired what the games may have been. John, aged 100, lapsed into silence, but his daughter Betty suggested these may be; “the farmer wants a wife”, “musical chairs”, the grand old Duke of York”. Two years later when I discussed this with Will Patterson and Thomasene Rodgers they had recollections of “The Haymaker’s Jig”, “The Waves of Troy (I assume Tory)” and “Sir Roger” (which I assume is short for Sir Roger de Coverley). A social held in 2nd Dromara Lecture Hall in connection with St John’s Parish Church Choir, was reported in the Leader, 1st February 1947, which stated; Mr James Pollack, who acted as M.C., introduced a number of popular games, the music being supplied by Messrs. James Steenson and James Jess. Prizes for “musical knees” were won by Miss J. Lindsay and Mr J. Fee, and for the “honeymoon express” by Miss M. Maguire and Mr J. Rankin. (Dromore Leader 1st February 1947) In reality then, whilst Church Socials weren’t called dances many, in reality, weren’t far short of them. Surprise Parties The following report of the “greatest surprise party ever held in this neighbourhood” was described in the Dromore Leader ; “The greatest “surprise party” ever held in this neighbourhood took place on last Friday evening at Mr A. Chambers, Ballykeel. Over 400 persons were present, young and old, great and small being there – indeed one individual humourously remarked “they were there from the four winds of the earth.” At any-rate there can be no mistaking the popularity which Mr. and Mrs. Chambers enjoy. When it became known that Mr. Chambers was leaving the Cross Roads and going to reside at Sunnyside, a little further down the road, having sold his farm to Mr. Richard Graham, the opinion of all was that he would have to be given “a night,” and this was truly carried out. The accommodation, large though it is, was taxed to its fullest capacity in dealing with such a numerous company, and all bent of course on a jolly night’s amusement. The spacious barn, which is over 100 feet long, made an impromptu ballroom and in this the merry throng of dancers chased “the fleeting hours” until six o’clock the following morning. Messrs. James Alexander and Alex. Young having their “violinistic” abilities tested to the fullest extent. Mr. Joseph Alexander as M.C. had “some time” discharging the duties connected with the office. The catering for the wants of the mammoth gathering was carried out in Mr. Chambers’ dwelling-house, The Misses Jess, Miss Lily Walsh and Miss Clarke having a busy time as teamakers, and Messrs. James Murdock, John Alexander, and Dick Young as stewards. During the night songs were given by – Miss Nellie Kingan, The Misses Graham, Miss L. Stewart, Messrs. William Wright Skelly, John Patterson, John Spence, Jack Eaton, Abraham Martin, and James Alexander. Before separating in the morning, Mr. Lavery, on behalf of the organisers of the event, thanked all for coming. He specially thanked the ladies who brought cakes, and the teamakers and stewards for the manner in which they had put forward the tea. He was sure he was voicing the sentiments of all when he said they rejoiced to know that Mr. and Mrs. Chambers were not leaving the neighbourhood, but only going a little further down the way. At M’Adams Cross Roads they would still be on the borders of Ballykeel. (Applause.) To their new home they certainly carried with them the best wishes of old and young. (Hear, hear, and applause.) Dromore Leader 11th February 1922 Quilting Parties Quilting Parties are not generally associated with Irish culture, being most popular in North America, particularly the Appalachians. Quilting Parties were a social gathering where women met up to make a quilt and have a chat whilst doing it. The custom was generally linked in producing a quilt for a couple about to be married or a girl shortly “coming of age”. The soirees generally took place through the day, with the men folk joining the company after their normal day’s work was done. The party then took the traditional role of music, dancing and merrymaking. Quilting parties are known to have taken place in the Low Country, around Ballyhalbert. The following description, which dates around the 1890s, was collected from Sally Young by Mark Thompson and Dick Glasgow; James’s wife, Elizabeth Bailie, was a quiltmaker and would hold quilting parties when 8 – 10 other local women would come to the Bailie’s farmhouse and spend a few days making a quilt. When the quilt was done and the men had come back from their day’s work they would clear the barn and hold a celebratory barn dance for the completion of the quilt. (Mark Thompson from Sally Young, August 2000. Sally is from Ballyfrench, a townland just south of Ballyhalbert.) Another County Down reference to quilting parties was reported in the Dromore Leader in 1932, when it reported the death of William Coulter, a weaver born around 1834; Mr William Coulter, Ballymacormick died on 28th October 1937 at a ripe old age. He was born at the Rock, Ballyvicknakelly. Mr Coulter in his early years took a keen interest in social evenings and dances, especially the old “quilting dances. Dromore Leader 5th November 1932 House Warming Parties House warming parties were another opportunity to indulge in the obviously very popular past-time of dancing; this is a brief description of one such party at well-sinker Thomas McClurg’s new cottage at Crossgar, Dromara as reported in the Dromore Leader in 1927. (Two of Thomas’s sons, Jimmy and Charlie were well-known dance music fiddle players.) House Warmer at Dromara A most enjoyable “house warmer” was given at Crossgar, Dromara, a few evenings ago by Mr. Thos. McClurg and his sons, who have lately taken over occupation of a new cottage. About fifty guests were present, and after a couple of hours of dancing to the strains of melodious music contributed by Messrs. Chambers and Morgan, tea was served in excellent style Mrs. W.J. Moore, The Misses Rowan and Miss. M. Thompson. Dancing was subsequently indulged in with vigour and delight, songs being rendered at intervals by Mrs W.J. Moor, Mrs. J. Moore, Messrs. T. McClurg, J. Steele, W.J. Moore, and others. Before dispersing, Mr. Thos. Fee proposed that the best thanks of the company be given to Messrs. McClurg for the sumptuous manner in which they had been treated, and wished them long life and happiness in their new home. Mr. Wm. Maguire, seconding, the vote was passed by hearty acclamation. (Dromore Leader , 26th November 1927)

Andy Dickson 2 The following audio tracks were recorded at the Tivoli Bar Folk Club, Donaghadee on 17th April 1978 by Denis Reynolds which he later digitised. Reel - The Man from Bundoran & The Glass of Beer Andy Dickson (fiddle), Dermy Diamond (banjo), Tara Bingham (flute) accompanied b y Eugene "Spooly" Kelly (guitar) and Sammy Weir (bodhran) play two reels - The Man from Bundoran and The Glass of Beer. The Man from Bundoran, The Glass of Beer Andy Dickson 00:00 / 02:37 Reels - McDonagh's & Charlie Lennon's No.4 Andy Dickson (fiddle), Dermy Diamond (banjo), Tara Bingham (flute) accompanied b y Eugene "Spooly" Kelly (guitar) play two reels - McDonagh's and Charlie Lennon's No 4 McDonaghs, Charlie Lennons No 4 Andy Dickson 00:00 / 03:08 Reels - The Crosses of Annagh, Crowley's & Fergal O'Gara Andy Dickson (fiddle), Dermy Diamond (banjo), Tara Bingham (flute) accompanied by Eugene "Spooly" Kelly (guitar) and Sammy Weir (bodhran) play three reels - The Crosses of Annagh, Crowley's and Fergal O'Gara. Crosses of Annagh, Crowleys, Fergal OGara Andy Dickson 00:00 / 03:58 Reels - Farewell to Ireland & The Tarbolton Andy Dickson (fiddle), Dermy Diamond (banjo), Tara Bingham (flute) accompanied by Eugene "Spooly" Kelly (guitar) and Sammy Weir (bodhran) play two reels - Farewell to Ireland and The Tarbolton. Farewell to Ireland, The Tarbolton Andy Dickson 00:00 / 05:29 Jigs - The Black Rogue & Richard Dwyer's Andy Dickson (fiddle), Dermy Diamond (banjo), Tara Bingham (flute) accompanied by Eugene "Spooly" Kelly (guitar) and Sammy Weir (bodhran) play two jigs - The Black Rogue and Richard Dwyer's. The Black Rogue, Richard Dwyer's Andy Dickson 00:00 / 03:12

Bob Davey, Harry McCracken, Jackie Donnan, Davy Dillon, Geordie Anderson c. 1969 Davy Dillon, Jackie Donnan, Bob Davey, Harry McCracken c. 1968. David Lowry - Toye, 2021 Bob Davey, Harry McCracken, Jackie Donnan, Davy Dillon, Geordie Anderson c. 1969 1/12 Musicians from the Comber & Balloo House sessions (c. 1965 - 1982) Geordie's Wonder Band - Donaghadee Folk Club, Tivoli 1976 Ronnie Crutchley (guitar), John Wilson (guitar), Ernie Swain (fiddle), Geordie McAdam (flute), Stanley Mooney (B/C accordion) Geordie's Wonder Band - Donaghadee Folk Club, Tivoli 1976 George Russell (bodhran), Essie McHugh (banjo mandolin), Ronnie Crutchley (guitar), John Wilson (banjo), Ernie Swain (fiddle) Noel Lenaghan, Martin McGinley, Nigel Boullier - St Johnston 2022 Geordie's Wonder Band - Donaghadee Folk Club, Tivoli 1976 Ronnie Crutchley (guitar), John Wilson (guitar), Ernie Swain (fiddle), Geordie McAdam (flute), Stanley Mooney (B/C accordion) 1/11 More Formal Davie Wylde, Ernie Swain, Geordie McAdam - Gormanston, 1976 Dianna Skillen, Nigel Boullier, Josie Nugent & Geordie McAdam - Edenderry, 2014. Dianna Skillen & Mairéad Ní Mhaonaigh - Portrush c.1980 Bernie Stocks, Nigel Boullier, Dianna Skillen, Davy Graham - Sam McCaughey's Wedding, Dundonald 2007 Bernie Stocks, Andy Dickson, Russ Bradburd - Ormeau Road, Belfast 2012 Dianna Skillen & Mairéad Ní Mhaonaigh - Portrush c.1980 1/7 Sessions - various Davy Graham, Dianna Skillen & Bernie Stocks -Fealty's c.1992 Brian Montague - Fealty's, 2002 Patrick Alexander, Davy Lennon, Nigel Boullier, Geordie McAdam - Fealty's, 2019 Davy Graham, Dianna Skillen & Bernie Stocks -Fealty's c.1992 1/9 Fealty's, Bangor (c. 1969 - 2023) Davy Lennon, John Flack, Foxy Carberry, Nigel Boullier, Geordie McAdam - Foxy's Shed, Bangor, 2020 Nigel Boullier, Josie Nugent, Brian Stafford, Davy Lennon, Dianna Skillen, John Flack - Court House, Bangor, 2022 Darren Mag Aoidh, Deirdre Shannon - Court House 2023 Darren Mag Aoidh, Deirdre Shannon - Court House 2023 Courthouse Program 2024 Darren Mag Aoidh, Deirdre Shannon - Court House 2023 1/9 The Court House, Bangor (2022 - 24) Paul Bell, Bernie Stocks, Nigel Boullier, David Williams Maddens, Belfast c. 2017

Harry Coulter playing the fiddle at home at Ballybryan on the shores of Strangford Lough, 1994 1/3 The slides above of Jim McBride & Edel McElholm - The Abbey, Greyabbey & Strangford Lough shore c.2005 are courtesy of Bernie Brown picture ©Bernie Brown, @berniebrown5 Joe Walker, 1910 Joe Walker c.1925 Harry Coulter, Jim Creaney & Kenny Thompson Joe Walker, 1910 1/9 Thomas Somerset & Co Ltd, Linen Manufacturing Factory, Greyabbey on an outing to Mount Stewart, c1910. Fiddler Johnnie Dunn. Johnny McKeating c.1970 Will's Billy Curran 1925 Jim Creaney & Paddy Brennan Johnny McKeating c.1970 1/6 Two fiddle players led a wedding party, thought to be in Portaferry

Videos of Quadrille Dancing F irst introduced into Ireland from France in the early 1790s the Quadrilles were naturalised and gradually evolved into Irish set dancing during the 1800s. However, it is accepted that the only style of dancing the Quadrilles close to the original form from around 1800, is that in County Down. "The only surviving sets in this style are those from County Down." "This set of quadrilles is probably the closest to the original First Set of Quadrilles that came to Ireland around 1816." [Pat Murphy, Toss the Feathers, Irish Set Dancing , 1995, p.47 & 107 respectively.] The original quadrilles consisted of The First Set of Quadrilles, The Quadrilles , and due to their popularity they were followed by many additional variations such as The Second Set of Quadrilles, more commonly known as The Lancers , and The Third Set of Quadrilles, more commonly known as The Caledonians . Generally in the Quadrilles, Lancers and Caledonians, which have 6, 5 and 5 figures respectively, the first figure is simple, and each figure thereafter increases in complexity. The videos of the following figures of the Quadrilles, Lancers and Caledonians are reproduced with the kind permission of Roy Spence of Eclipse Promotions, Comber. The Quadrilles Dancers from East Down John Davidson & Margaret Gibson, William McSeveney & Christina McBride, Samuel James Gibson and Margaret Gibson, James Peake & Jeannie Peake. Piano Accordion - Jim Martin. Quadrilles 1st figure Quadrilles 2nd figure Quadrilles 3rd figure Quadrilles 4th figure Quadrilles 5th figure Quadrilles 6th figure The Lancers Dancers from East Down John Davidson & Margaret Gibson, William McSeveney & Christina McBride, Samuel James Gibson and Margaret Gibson, James Peake & Jeannie Peake. Piano Accordion - Jim Martin. Lancers 1st figure Lancers 2nd figure Lancers 3rd figure Lancers 4th figure Lancers 5th figure The Caledonians Dancers from East Down John Davidson & Margaret Gibson, William McSeveney & Christina McBride, Samuel James Gibson and Margaret Gibson, James Peake & Jeannie Peake. Piano Accordion - Jim Martin. Caledonians 1st figure Caledonians 2nd figure Caledonians 3rd figure The 3rd figure of the Caledonians is identical to the 1st figure of the Lancers. (The title opening the above video should read Caledonian figure three.) Caledonians 5th figure A video of the 4th figure of the Caledonians is not available, however a written description of all figures can be found in Handed Down, Country Fiddling and Dancing in East and Central Down . Killinchy Dance The usual format for dances in East Down in the period 1990 - 2010 was to have one square dance in an evening - this would alternate weekly between the Quadrilles, the Lancers or the Caledonians. The remainder of the program comprised of sequence dancing and two-hand round dances. Of the square dances the Lancers was the most popular. The following film clips are reproduced with the kind permission of Maurice McBride. They were recorded in 1993 and are of Mrs Peake's weekly dance in Killinchy Church Hall - they are all various figures of the Lancers. Piano Accordion - Jim Martin. Lancers 1st figure Lancers 2nd figure Lancers 3rd figure Lancers 4th figure Lancers 5th figure (only half) The following clips are reproduced with the kind permission of Maurice McBride. The recordings are of a social outing of a some of Killinchy dancer's day out in 1993. Piano Accordion - Fiddle - Addy McVeigh Lancers 4th figure Lancers 5th figure (part only) Lancers 5th figure (part only) Quadrilles 4th Figure Bangor Set Dancers Mary McCaughey & Neal McFerran, Kathleen Davis & Ed Quiery, Pam Quiery & Tim Davis, Deborah Gadd & Davy Simpson having learned the Quadrilles from the dancers from Ardmillan. Dance Music - Maurice Bradley (fiddle) from Ballinascreen, County Derry and Ciaran Kelly (box) from County Fermanagh