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Map of Lecale The McDonalds Will's Billy Curran Charlie Stewart Johnny McKeating Hughie McComb, James Robinson, Paddy Brennan

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

Jim Moore Part 1 Jim Moore learned most of his fiddle music from initially Sammy Thompson, then Davy and Robbie Gray. He was also influenced by Robbie Chambers. He had a large collection of tunes in manuscript, many written by Jimmy Ward, Sammy Thompson and Davy Gray, including many written out by himself. He did not play from music, neither did his compatriots, but he used his collection for reference. In the years following his death his daughter, Linda Poole, contacted me and gave his collection in 2020. 1 Hornpipe - The Tinware Lass (HD ref JM360) 2 Hornpipe - Tim the Turncoat 3 Hornpipe - The Leitrim Fancy Hornpipe 4 Hornpipe - The Kildare Fancy 5 Hornpipe - The Plains of Boyle 6 Hornpipe - The Fairies 7 Hornpipe - The Sherwood Rangers 8 Hornpipe - Down the Glen 9 Hornpipe - Tomorrow Morning 10 Hornpipe - Pretty Maggie Morrissey 11 Hornpipe - Off to California 12 Schottische - The Danish Polka (HD ref WS130) Hornpipe - The Honeysuckle Hornpipe 13 Polka - The Wearied Soldier (HD ref JW304) Hornpipe - The Star Hornpipe (HD ref DG372) 14 Hornpipe - The Greencastle Hornpipe (HD ref JD148) 15 Hornpipe - The Galway Hornpipe 16 Figure Dance - The Siege of Ennis Hornpipe - The Stack of Barley 17 Hornpipe - The Man from Newry (HD ref DG371) Jig - Kitty's Ramble 18 Hornpipe - Chief O'Neill's Favourite 19 Mazurka - Untitled Mazurka (HD ref JD152) 20 Mazurka - Polka Mazurka locally titled The Spanish Mazurka (HD ref WS115) 21 March - Tyrone's Ditches (HD ref JM363) 22 March - Shane O'Neill's March 23 March - The Bonnie Lass of Bon-Accord (HD ref WS115) 24 Waltz - Mrs Elder (HD ref JM364) 25 Waltz - Sweet Sixteen (HD ref ST356) 26 Waltz - The Fairyland Waltz (HD ref JW338) 27 Quadrille Tune 2/4 - 2nd of the Lancers generally titled I Wish I were where Gadie Rins or The Hessian's March (HD ref JW307) 28 Figure Dance - The Sweets of May (HD ref WMcC94) different version 29 Quadrille Tune 2/4 - Highland Whiskey (HD ref WS122) generally titled Niel Gow's Farewell to Whisky Jig - My Darling is Asleep

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

Map of Central Down (Ballynahinch) The Flavelles of the Spa Willie McCaughtry & Hugh Wade Willie Harrison, John & James Stevenson John Kinghan Bertie Carlisle & George McKelvey Pat & John McCormick James & Maggie McLeigh, James & Davy Mullan

The Edmond Manuscript Jimmy Edmond (1873 - 1935) was a fiddle player from the Curragh, a mile south of Killinchy in East Down. The manuscripts below have been handed down from Jimmy Edmond to his niece Mary Jane to Jackie Donnan to myself. Jackie Donnan met Mary Jane on the road near Derryboye in 1951 and expressed interest in the Edmond's jig The Pleasures of Summer. He had heard about Edmond's playing of the tune from his mentor Willie McCloy. Mary Jane called with Jackie a few days later and gave him the one page of Jimmy Edmond's manuscripts that contained the jig. Sadly the remainder of the Edmond manuscripts were burnt. 1 Reel - Captain Bounce (HD ref JE181) Reel - Fight about the Coals (HD ref JE181) [See also Captain Bounce transcribed by Willie McCloy (HD ref JS85). There is a vast difference in the bowing between Jimmy Edmond's version and that scribed by Willie McCloy. T his is particularly interesting as they only lived a couple of miles apart. ] 2 Jig - Sheelin Agra (HD ref JE180) Hornpipe - Jack's the Lad (HD ref JE179) 3 Jig - The Pleasure of Summer (HD ref JE180) 4 Jig - Happy to Meet (HD ref JE179) Jig - Paddy get up (HD ref JE179) Jig - Paddy O'Carrel (HD ref JE180 )

Seamus Sands These audio clips were recorded by Seamus Sands for his albums Across Bridges , 2015 and A Deep Pool , 2018 and are presented here with his kind permission. The explanatory notes are taken from the album notes and written by Seamus himself. Reel - The Blackbird The first is my interpretation of a lovely Co. Down reel that is included in Nigel Boullier’s Handed Down book on Co. Down fiddle playing. Nigel learned the tune from fiddler Jackie Donnan and I feel the lovely melody suits being played slowly. The Blackbird (Reel) Seamus Sands 00:00 / 01:47 Reel - Sleeping Maggie Drowsy Maggie is perhaps one of the most commonly played session tunes, but this unusual 4-part version, titled Sleeping Maggie , comes from an undated manuscript of Co. Down fiddle player James Ward, who died in 1944. According to Nigel Boullier, Jimmy Ward was known for adding parts to tunes and it is possible that this version was his own creation. I like the fact that the unexpected third part at first doesn’t seem to fit but after a while it does seem to blend and give energy to the tune. Sleeping Maggie (Reel) Seamus Sands 00:00 / 01:19 Figure Dance - Bessy Black A six-part dance tune, also known as Betty Black , once common in Down and Armagh but no longer widely played. Not the typical rhythm of session tunes and I sometimes think the tune has a baroque feel to it, especially when played at a lower pitch, and I play it on a fiddle tuned down two tones. This version comes from my flute-player friend Dermot Rafferty and was recorded by his uncle, Hugh Savage, in 1952. Bessy Black (Figure Dance) Seamus Sands 00:00 / 02:22 Reel - The Silvery Bar The Silvery Bar is one of my own compositions and I play these tunes on the fiddle I made and for this last tune I’ve no excuses …..my fiddle, my tune, my playing! The Silvery Bar (Reel) Seamus Sands 00:00 / 01:23 Reels - The Carrickmannon Lasses / The Wind that Shakes the Barley I learned the first reel from Co Down fiddler Nigel Boullier during an enjoyable visit to share a few tunes. He collected it from fiddler Jackie Donnan who had learned it from fiddler Willie Savage. Carrickmannon is in Co. Down. The well-known Wind That Shakes the Barley is one of the first I learned from Co. Armagh fiddler Jimmy Burns and was a real favourite of the older players and ceili bands in the area. This is my interpretation of a quite ornate version in the Donnellan collection. The Carrickmannon Lasses / The Wind that Shakes the Barley (Reels) Seamus Sands 00:00 / 02:45 Barndance - Jimmy Doyle's Co. Down fiddle players Nigel and Dianna Boullier gave me the first barn dance after a very enjoyable day at their home exchanging stories and tunes. Nigel got the tune from his friend Jim Moore with whom he played weekly for over eight years. Jim in turn learned the tune from another Co. Down fiddle player, Jimmy Doyle, and Nigel includes it in his book Handed Down with some history regarding the player. There is a distinctive G-sharp note at the end of the second part that gives the tune something special and perhaps unexpected. Jimmy Doyle's Barndance Seamus Sands 00:00 / 01:27 Flings - Jimmy Ward's / Craigbuy House On Across Bridges I included tunes from Co. Down fiddler Jimmy Ward (d.1944). I’ve enjoyed playing tunes from this player that were made available through Nigel Boullier’s work and this is another of his tunes that appeals to me. My source for the second tune is John Macpherson Mulhollan's A selection of Irish and Scots tunes collection (Edinburgh). The title may be an alternative spelling of Craigboy, a townland in Donaghadee, Co. Down. It appears next to The Donaghadee Hunt , which I also play on this recording. Jimmy Ward's / Craigbuy House (Flings) Seamus Sands 00:00 / 02:31 Jig - The Donaghadee Hunt The Mulhollan collection (Edinburgh) was my source for the second jig. The Donaghadee Hunt Seamus Sands 00:00 / 01:06 Figure Dance - The Sweets of May The Sweets of May is a 3-part dance tune most associated with Co. Armagh. This Co. Down version appears in Handed Down and came from the playing of Jackie Donnan who learned it in the 1950s from Willie McCloy. Unlike other versions, it doesn’t have the first part repeated. Figure Dance - The Sweets of May Seamus Sands 00:00 / 02:14 Reel - The Grain of Tea The Grain of Tea is another tune I sourced from Handed Down. In my earlier solo recording, I played an unusual version of The Cup of Tea….. here’s another tea-themed tune! The Grain of Tea Seamus Sands 00:00 / 01:26 Mazurka - Rockin' the Cradle I’m delighted to be joined by my three fiddle-playing daughters, representing a sixth generation of fiddlers, for these mazurkas. The last tune is one I first heard at a session in Drumnaquoile, Co. Down quite a few years ago. This last tune is included in Handed Down. Mazurka - Rockin' the Cradle Seamus Sands 00:00 / 01:20 Air / Hornpipe - The Besom / The Man from Newry The Besom is a simple, but catchy, song and the first that my great-grandfather Sands taught his seven fiddle-player sons, including my grandfather. It was played and sung to me by Colum Sands who has words that start “As I was going to Newry …..” . The song with a similar chorus has links to Tyneside in the late 1700s and to Scotland. A version of the same tune appears in Levey’s 1858 Dance Music of Ireland as The Besom . The besom is a broom made of heather. The Man from Newry appears in O’Neill’s but isn’t a tune I ever heard when growing up in Newry! The Besom / The Man from Newry Seamus Sands 00:00 / 02:40 Set Dance - The Old Lodge Road / Rodney's Glory I grew up in Newry, a town bridging both counties Down and Armagh and many of the first tunes I learned there were set dances, which were played at a relaxed pace. The Old Lodge Road is one such tune that has remained with me from that time and it reminds me of Comhaltas Ceoltóirí Éireann sessions in the old Newry library in the mid ‘70s, with my father at my side to encourage, and the older players patiently sharing. A lot of the tunes were set dances, barn dances, marches, mazurkas and airs, many with a strong Scottish influence. Some of the local players that inspired at those sessions were Willie McSherry, Bertie Trodden, Paddy Rafferty, and Sean O’Driscoll. Rodney’s Glory is also one of my favourites and there is something that keeps bringing me back to both these tunes. The Old Lodge Road / Rodney's Glory Seamus Sands 00:00 / 04:12

Manuscript Indexes The various tune types are self-explanatory (as they relate to various dances e.g. reels, jigs, mazurkas), with the exception of Quadrille Tunes. Fiddle players in East Down generically called tunes played for the dancing of Quadrilles (and their associated sets) "Quadrille Tunes". These include single jigs, double jigs, polkas and marches, and shades in between. Reels Jigs & Slip Jigs 6/8 Quadrilles, 2/4 Quadrilles, 4/4 Quadrilles Polkas Hornpipes Mazurkas, Marches Schottisches, Strathspeys, Flings Barndances, Waltzes, Varsovienna Tunes Figure Dances, Country Dances, Round Dances, Irish Dances, Planxtys, Airs

Nigel Boullier Jigs/Quadrille tunes - Annie Laurie & Brian O'Neill Josie Nugent & Nigel Boullier (fiddles) and Brian Stafford ( uilleann pipes) play two Jigs or 6/8 Quadrille Tunes, Annie Laurie & Brian O'Neill that come from the playing of Jackie Donnan and Willie McCloy. Recorded Bangor 2022. Jigs - Jackson's Trip & the Boy in his Pants Nigel Boullier and Dianna Skillen play two Jigs - Jackson's Trip & The Boy in his Pants . Nigel learnt Jackson's Trip from fiddle player Jackie Donnan, which he in turn learnt from Willie McCloy, and he learned T he Boy in his Pants from Lisburn fiddler Liam Donnelly . Recorded in 1994.

Video Clips of Fiddle Players Jackie Donnan Geordie McAdam Sam McCaughey Brian Sutherland Ernie Swain Dianna Skillen Andy Dickson Nigel Boullier Sessions

Step Dancing Step dancing was still danced for exhibitions at parties and socials well into the 1950s, however it rapidly died out in the following years to the extent that by the turn of the millennium step dancing in County Down has completely died out. Throughout Great Britain and Ireland the most popular dances for step-dancing were reels, jigs and hornpipes. In County Down reels, particularly single reels and hornpipes were the favoured form of tunes for step dancing to. Many of the “crushed bowing” reels played by John Simpson and his fiddlers were phrased specifically for step-dancing single reels. Tunes like the Killyleagh Lasses , that have a bowed treble in the 2nd half of each 4th bar, were phrased this way to match the dancer’s steps. The dancers usually danced a series of doubles near the end of their performance to let the fiddle player know they were about to stop. A favourite tune for dancing hornpipes was the Greencastle Hornpipe . There are few memories of step-dancers left these days as it died out so long ago; however some recollections still exist. Hans Stevenson Donnan Towards the end of the 1800s, Hans Stevenson Donnan was well-known around East Down as a champion dancer. Hans was born in Raffrey on 22nd April 1859, his parents being Robert and Margaret Donnan (nee Lowry). His father Robert was a tailor. Hans followed in his footsteps being a tailor; he lived at Ballywillin, between Killyleagh and Crossgar, and he travelled locally carrying out exhibitions of step-dancing. On 11th September 1885 he married Annie Killops at Inch. Annie was from Dunanally, Inch; her father William was a coachman at the Finnebrogue Estate, north of Downpatrick. Willie McCloy regularly travelled to the Donnan’s to play for Hans to practice. Through these visits Hans’s daughter Lizzie was introduced to fiddle music and she later became a fine player. Two of Hans’s favourite reels to dance to were Box (or fight ) among the Coals , and Fire on the Mountain . Hans Donnan passed away in July 1900. Champion step-dancer Hans Stevenson Donnan with his wife Annie, c. 1900. Frank Bishop and Robbie Johnston In the early-1900s, Frank Bishop and Robbie Johnston were well-known step-dancers, who often danced together. Frank, who was born in 1883, was from Ballymacarron and was a carpenter by trade. Robbie, who was born in 1886, was from Mahee Island. They would have started dancing with single batters, then doubles and trebles, dancing side by side, then forward, back, and sideways together. Then at a certain point they would spread apart, dancing against each other, which would get the crowd going. Interestingly Robbie liked the tempo of the music moderate and steady, while Frank preferred it faster – this resulted in each of the dancers occasionally giving simultaneous conflicting hand signals to the fiddle player. Like most step-dancers they performed at house parties, socials and at concerts in local halls and church halls. William James Sprott and Alec Dorrian At a later period William James Sprott (born around 1905) was renowned as a dancer. He was a farmer from Balloo, and was very supple – he was well-known for his fancy footwork. He occasionally placed two crossed sticks on the floor and danced around them in a fashion similar to a sword dance. There was great rivalry between the dancers as this yarn from Jackie Donnan about William James Sprott illustrates; "On the day that William James buried his wife he landed into Morrow’s pub in Killyleagh in the afternoon, after her funeral. He was seated with his head bowed, the tears were tripping him, dripping onto the flagged floor. A rival of William James’s, a dancer called Alec Dorrian came into the pub and ignoring William James he asked Morrow to put on the gramophone and play a hornpipe. Morrow duly put on a recording of the Harvest Home and Alec Dorrian got on the floor and stepped a hornpipe. By the time another hornpipe was played, Dorrian was still up dancing, and William James couldn’t take it any longer. He shouted at Dorrian, “sit down, sure you’re only limpin’”, and jumping up he danced the hornpipe out." Alec Dorrian was from Tullyveery, Killyleagh and was born around 1893. He worked as a farm labourer and flax dresser. The following references to step dancing were made in the Dromore Leader over a number of years; George Wright & Mr Stewart “A very successful social and dance took place in the Town Hall, Hillsborough, on Friday evg., (4th October)…. An excellent step-dance display was given by Mr George Wright. (Dromore Leader 12th October 1918) At the social and dance in Ballykeel Orange Hall on 11th October; “A Irish jig by Messrs Stewart and Wright was much appreciated.” (Dromore Leader October 19th 1918) Miss M Brown On Easter Monday 1920 at Ballaney Orange Hall – Ballaney Temperance Bagpipe Band social & dance; “A feature of the evening was a number of step-dances given by Miss M Brown, which were highly appreciated.” (Dromore Leader 10th April 1920) Sister A. Owens and Br. J. Smyth Sister A. Owens and Br. J. Smyth were recorded as step dancing for Gransha LOL social and dance on 2nd January 1925. The social opened at 9.00pm and ended at 6.00am. The dance music was supplied by fiddle players William and John Wallace. (Dromore Leader 10th January 1925) James McCormick On 25th January 1929 at Waringsford annual soiree & ball; “James McCormick, the latter in songs, hornpipes and step dances in long boots…” (Dromore Leader 2nd February 1929) M iss Freda & Chrissie Blaney On 1st March 1928, at the Town Hall, Ballynahinch; “at breathing-spells between the dances…. were very much enjoyed, as was also a step dance by the Misses Freda & Chrissie Blaney.” Miss Lottie & Chrissie Blaney, Miss Lowry & Miss Casement On 1st March 1929, at a concert in Gransha Orange Hall; “Miss Lottie & Crissie Blaney’s step dance and Miss Lowry & Miss Casement’s step dance with Mr T Gourley playing the bagpipes was a splendid item.” (Dromore Leader 10th February 1929) Misses B & P Carlisle On 1st February1934 the Misses B & P Carlisle gave some step dances which were greatly appreciated at the Saintfield Parish Social in the Saintfield Courthouse. (Dromore Leader 3rd March 1934) Miss V Ferguson Skeagh Flute Band Concert and Half Night Dance 21st February 1934. Miss V Ferguson step danced a “Highland Fling”. Miss Nance McQuillan On 30th October 1936 in Dromore Orange Hall for the Dromore Branch of the Amalgamated Transport Workers Union dance; “Step dancing by Miss Nance McQuillan, music by Premier Dance Band, Lurgan.” (Dromore Leader 7th November 1936) George Clydesdale & Robert McCullough On Christmas Night 1940 Brs George Clydesdale & Robert McCullough gave a step dancing display in Skeagh Orange Hall for the annual social & dance (“an Orange Social”). (Dromore Leader 4th January 1941)

The Thompson Manuscripts Sammy Thompson (1909 - 1988) was a fiddle player from the Leapoges, about four miles east of Dromore. He initially learned from James Ward who lived a couple of miles north. He taught various fiddle players in the surrounding neighbourhood, namely Tommy Ervine and Jim Moore, playing regularly with Davy and Robbie Gray and Jim Moore. Sammy Thompson (fiddle) & Joe Jess (button accordion) lived next door to each other at the Leapoges. Joe also played fiddle - they played as the Leapoges Dance Band Sammy Thompson Part 1 Sammy Thompson Part 2 Sammy Thompson Part 3