Chapter Two-- Irish Dancing Milieus
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Transcript of Chapter Two-- Irish Dancing Milieus
Chapter Two
IRISH STEP DANCING MILIEUS
Irish step dancers are socialized within a competitive environment. Competitions
are, for many dancers, the main forums in which they perform, and many teachers train
their dancers for competitions instead of public performances. The local competition is
known as the “feis” [pronounced “fesh”], which is pluralized “feiseanna” or, commonly,
“feises.” Feiseanna are usually hosted by either a particular school or a community
organization dedicated to supporting the feis, which is generally held yearly. Although
the feis is often hosted by one particular school, feiseanna are generally open to entrants
from multiple schools. In the organization An Coimisiún le Rince Gaelacha (further
discussed below), any teacher who is registered with the organization my submit students
to be judged at the feis.
Two types of dance competitions are held at a typical feis—solo dances and ceílí
dances (group dances). Figure choreographies and dance dramas may also be performed
in some competitions, but these are generally rare.1 At the local feis, dancers compete in
different grades or levels for solo dances. The names of these levels vary from region to
region, and from country to country. In the Western United States Region, the
competition levels are: Beginner 1 (Beginner), Beginner 2 (Advanced Beginner), Novice,
Prizewinner, Preliminary Championship, and Open Championship. Each of these
competitions is age-graded, so that one might compete in beginner 2 for a dance, and be
assigned to the “15 and Over” category, for example. Dancers move up the levels by
achieving a first place in competition with a sufficient number of dancers, or, in the lower
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levels, by placing in the top three. For each of the first four grades, the dancer competes
in seven competitions: reel, slip jig, light jig, single jig (softshoe dances), hornpipe, treble
jig, and traditional set (hardshoe dances). A dancer must generally advance all of his or
her dances to the prizewinner level before he or she can move into preliminary
championships. After moving into championships, the dancer will perform three dances:
one hardshoe dance, one softshoe dance, and a hardshoe traditional set. The traditional
sets performed at the lower levels are standardized across all schools, whereas the
traditional sets performed by champion dances are original choreographies developed by
particular teachers. For a dancer to move from preliminary championships to open
championships—the highest level of competitive Irish step dancing—he or she must
receive first place in three separate championships that enroll five or more competitors. It
can take a great deal of time for dancers to advance through all of the levels, and, indeed,
many dancers never reach open championships. Becoming a champion is, for many
dancers, a goal and an aspiration.
“Adult” competitions are separate from children’s competitions. These
competitions generally have fewer levels, and, in most competitions there is no
championship category. A few number of feiseanna do feature championship
competitions for Adult competitors, but these are largely symbolic, feis-specific, and do
not reflect a broader system. It should be noted that dancers of any age technically can
compete at the youth level, but most adult beginner dancers are not encouraged to do so.
Dancers are not generally separated by sex or gender until they reach the very
highest levels of competition. There are some competitions at lower levels that are
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segregated by gender, but these competitions do not count in terms of moving up the
levels. Competitions such as these are referred to as “specials,” of which the most
common in the Western United States region are the “boys’ special” and the “slip jig
special” (for girls).
Dancers who reach the level of championships can qualify to dance in the
regional Oireachtas, which is the qualifier for the Oireachtas Rince na Cruinne (the
World Championships, “all-Worlds” or “Worlds”). At the Oireachtas, dancers are
separated according to the year of their birth for most of the levels, although dancers who
are nineteen and twenty years of age compete together, and dancers who are twenty one
and over compete in one single category. Dancers must qualify by placing in a
championship or performing well at the Oireachtas to qualify for the final type of
regional competition, the nationals (for example, the North American National
Championships and the All-Ireland Championships). The World Championships is the
highest championship, to which competitive dancers proceed after placing in the top
ranks of their age group at either their regional Oireachtas or a national championship.
While only dancers from the specific region can compete in the regional
Oireachtas, dancers from any place in the world can compete for most national
championships (with the exception of Australia’s national championship). Dancers at the
World Championships are allotted a certain number of places per region based upon the
number of dancers competing in the regional Oireachtas. For any regional competition, a
minimum of three dancers will qualify, even if there are only three dancers in the entire
competition (which sometimes is the case for male dancers). However, as the number of
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dancers increases, the number of qualifiers for the Worlds in the age group
proportionately increases. For example, in the Under 19 and younger age groups, the top
three dancers in the Oireachtas competition automatically qualify for the Worlds, and
then once the number of competitors is lower than ten, an additional person will qualify
for each additional multiple of ten participants. For the older age groups, the procedure is
similar, except the top five dancers qualify, and the additional dancers are allocated when
there are an additional five dancers.2 Dancers can also qualify for the World
Championships at the national competitions, or if they have won a medal in the prior
year’s World Championships they will requalify, but they must also “participate” in their
regional Oireachtas—although this participation might include registering and walking
up on the stage in a cast.
Most Irish step dancers will never qualify for the World Championships at all. It
is fairly difficult to achieve the status of champion alone, much less to place in the top
few of an Oireachtas competition. However, the fact that for most dancers this feat is
unachievable does not stop dancers from wanting it, from working for it, and from
dreaming about it. Achievement in many Irish step dancing schools, and according to
many dancers, is proportional to standing and rank in competition. Indeed, it is not
uncommon for dancers to cry when receiving poor placements, or to become very
frustrated when they do not achieve their goals. Dancers are discussed, and are accorded
respect, with reference to their rank. A particular teacher’s reputation is often based upon
how well his or her dancers, particularly champions, perform in competition. Both
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dancers and teachers informally rate schools as good or bad according to who achieves
the most success in competitions.
Irish step dancing competitions are particular environments with their own
peculiar traditions and customs, roles and structures. A feis is often held at a large hotel
or resort, although feiseanna are sometimes held in such locations as church halls, school
gymnasiums, or convention centers. A feis may have a few different rooms, each housing
a stage, or a large open area where there are multiple stages. The stage surface is
generally made of plywood, and taped onto the floor. Each stage will usually have its
own live musician. The most common types of musical instruments played are
accordions and pianos. When the competitions are being conducted, the sonic experience
is ever-present, and tunes are generally repeated over and over for every different level of
competition, throughout the day. Dancers on each stage will run through the succession
of dances for their age grade and level. Depending on the number of dancers, the process
of going through every competition level can take between one and two full days. At
larger competitions, such as the Oireachtas, the event will take place over about a three-
day weekend, and, at the World Championships, the competitions run for approximately
a week.
Dancers competing at a feis will be registered by their teacher in advance, and
have paid fees to participate. Upon arriving at the feis, they will sign in and receive their
number, on which will be listed their competitions. The long process of dressing oneself
for the competition will generally take place at various phases throughout the feis, being
just completed before the dancer takes place on the stage. Female dancers go through
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steps of dressing which may begin with the donning of a t-shirt, bloomers (underwear
worn under the dress) and long, glued-up-to-the-calves, “poodle socks,” to makeup
application, to the addition of the wig and the tiara, and finally to the donning of the
dress. Dancers in various states of dress and undress wander throughout the halls of the
feis. Unless dancers have to compete at the very start of the day, they will have a great
deal of time to rove around the feis. During this time, they may interact with friends,
watch other dancers compete, practice their steps, or look at the products offered by
vendors.
When it is nearly time for a dancer to compete, she will make sure her costume is
perfect, tie her number around her waist, and put on her dancing shoes. She will then
advance to the side of the stage to register with a stage monitor, who coordinates
competitions. As each competition occurs, it will either be announced, or a set of cards
showing the competition number, style of the dance, the level of competition, and the age
level will be displayed on a board. At the lower levels, multiple dancers, commonly up to
thirty or even fifty, will line up and walk out on to the stage. Lower level dancers will
face a single adjudicator, who will make a note of their numbers. The musician will start
playing, two dancers will step out, and they will perform two entirely different dances at
the same time. Beginner dancers will perform two steps on both right and left feet, which
adds up to 32 bars of music. After the first two dancers finish, they will extend their right
legs, point their toes, bow, and file to the back of the stage. Even before the first pair has
left the stage, the second pair will already have begun to dance. Dancers continue down
the line until everyone has had a chance to perform. When everyone has finished, all of
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the dancers will extend their right legs, point their toes, and bow. Throughout this
procession, the adjudicator has been taking careful notes and assigning scores to each
individual dancer. When she has finished recording all scores and is satisfied with the
placements she has given, she will ding a bell at her table. At this point, the dancers will
bow to the adjudicator, (and often) bow to the musician, and will file off stage in the
same order they used to enter. This process will be repeated for all seven dances in that
age group and level, with a brief pause for changing shoes between softshoe and hard
shoe competitions.
Championship competitions are run slightly differently. Dancers will perform
their hardshoe and softshoe dances in pairs, but they will only ascend to the stage two at a
time, and not in a large line. After the dancers have finished their first two “solo” dances,
they will move on to their set dances. Each traditional set has its own particular piece of
music that is performed at a specific speed. Individual dancers will perform their set
dances alone on the stage. At the World Championships or the Oireachtas, set dances are
performed only by dancers who have been recalled (that is, placed in the top half of the
competition), unless there are a very small number of dancers, in which case all of the
dancers perform their set dances. Dancers who compete in championships and dancers
who compete in the Oireachtas are judged by a panel of three adjudicators.
Championships are scored differently from non-championship competitions. All
three dances are included in the total championship score, whereas in lower levels each
dance is treated individually. In lower level dances, dancers are assigned their final rank
in a dance according to their raw scores. In contrast, in championships, dancers are given
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raw scores, and then these raw scores are transformed into rankings. Championship
rankings are assigned a certain number of standardized points, called “Irish points.” The
points a dancer receives from each adjudicator are added together for a final score, and
dancers are given their final standings based on these totals. A very high score received
from an adjudicator can significantly change one’s rank in the competition. Lower scores
are worth almost no “Irish points,” whereas higher scores within the first three to five
places receive the greatest bulk of the overall score count. A dancer who placed 1st, 30th,
and 15th in a dance would have an average lower than a person who scored 14th place
across the board in a conventional system of averages. However, in the Irish step dancing
system the first dancer would have a significant advantage over the second in the overall
ranking, because of the weight of their 1st place mark.
At the end of the competition day, when dancing is finished, awards are given out
in ceremonies. Lower-level dancers may or may not receive their awards (generally
medals) in these ceremonies, but championship dancers almost always receive their
trophies this way. In the United States, announcing is generally done in reverse order,
which builds up tension and excitement. Some announcers will announce the ranks of all
dancers in a particular competition, especially if a competition is very small. However, in
larger competitions and the Oireachtas, generally only members of the top half of the
competition are invited onto the award stage. The name and the school’s name for the
winner of each championship are often announced to the public. At very important
competitions, such as the Worlds, the dancer’s teacher will join the dancer onstage to
celebrate the award. These moments are idealized by any number of dancers, who
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practice with the goal of standing on the judge’s podium at the World Championships or
the Oireachtas, wearing the sash designating their placement, receiving the belt or crown,
and taking home the trophy.
Competition has significant effects on the ways dancers articulate their goals and
ambitions. The drive (and imperative) to succeed in competition shapes practicing habits,
the pace of change in steps, and the turnover in costume fashion. The intense competitive
hierarchy generated by emphasis on dancers’ results at feiseanna exerts impact on and
structures the awarenesses of Irish dancers. Dancers are intensely aware, not only of their
own placements in competition, but of the placements of others in their school, in their
region, and (if they have attained a very high level of dancing and have attended major
championships) in the world. Dancers are generally aware of whom in their school and
community is in what level of competition—who cannot get out of Novice, who always
places first in Open Championships, who has won the Oireachtas, who always places last
in championships. Dancers are aware of the people who beat them in competition and the
people they always beat, or feel they must always beat, to maintain their own self-respect.
With regards to dancing costumes, dancers are aware of what costumes “win” and what
costumes “lose,” as costume is perceived to have at least a minor impact on results.
Dancers feel the need to change their costumes as they become out of date. As of 2008,
the replacement cycle seems to have accelerated to approximately three years.
SOME SPONSORS OF IRISH STEP DANCING COMPETITIONS
The most prominent dancing organizations in terms of numbers and influence—as
measured, for example, by the number of dancers touring in prestigious professional
55
shows such as Riverdance and Lord of the Dance, and who claim affiliation—appear to
be An Coimisiún le Rincí Gaelacha (An Coimisiún) and Comhdháil Múinteoirí Na Rincí
Gaelacha (An Comhdháil). An Coimisiún appears to be the largest Irish step dancing
organization in the world. It has a global reach and oversees organizations of teachers in
the United States, Canada, Great Britain, Ireland, Australia, New Zealand, and mainland
Europe. In addition, teachers certified by An Coimisiún can be found in areas such as
South Africa, Kenya, and Mexico. Under the direction of An Coimisiún, there are several
smaller governing organizations, such as the Irish Dancing Teachers Association of North
America (I.D.T.A.N.A.), which are further explained in the following section. An
Comhdháil, in contrast, has a smaller reach, and governs dancing teachers in Ireland,
Great Britain, Australia, the United States, and Slovakia. However, its reach in areas such
as the United States is considerably smaller than it is in Ireland, and there are few
feiseanna conducted by members of An Comhdháil in North America.
Numerous smaller Irish step dancing organizations exist around the world, but it
is extremely rare to find these organizations considered in Irish step dancing scholarship.
These organizations are often regional in scope and include Cumann Rince Dea Mheasa
(Ireland and the United Kingdom), the World Irish Dance Association (Mainland
Europe), Cumann Rince Naisiunta (primarily Ireland, although it has a limited reach into
other areas such as the United States), the Celtic Association of Irish Dance (United
Kingdom), the Festival Dance Teachers Association (Northern Ireland), Irish Dancing
Net (Germany), and the American Association of Irish Dancers and Teachers (United
States). In addition, Comhaltas Ceoltóirí Eireann, which is by and large an Irish music
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organization, also holds dancing and other cultural events globally. On occasion, the
organizations mentioned in this paragraph are documented in publications such as
International Irish Dancing and Culture Magazine, but that magazine’s coverage of the
organizations in question is erratic.
Irish step dancing is thus by no means homogenized in terms of its structure or
conception of authority. In addition, different dancing organizations often express
different principles in their platforms or statements of purpose. Some dancing
organizations are more conservative, some are more experimental, some are more closed,
some are more open, some are more hierarchical, and some are more egalitarian in terms
of authority. Some dancing associations have long histories, such as An Comhdháil,
which split off from organizations such as An Coimisiún after disputes, and Cumann
Rince Naisiunta, which separated from An Comhdháil due to a variety of internal
disagreements. However, some organizations (such as the World Irish Dance
Association) appear to have emerged within the past decade, likely as a result of the
general global popularity of shows such as Riverdance, and may have been facilitated by
the accelerated communication provided by the internet.
Finally, under organizations such as An Coimisiún, there are special bodies set up
for the sole purpose of organizing feiseanna directly. One such organization is the North
American Feis Commission (N.A.F.C.), which coordinates, registers and regulates
feiseanna across North America (Canada, the United States, and, within the twenty-first
century, Mexico), and, in coordination with An Coimisiún and the I.D.T.A.N.A., makes
rules for registered feiseanna to follow.
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Focus on An Coimisiún le Rincí Gaelacha (The Irish Dancing Commission)
Because An Coimisiún appears to be the largest and most dominant Irish step
dancing organization around the globe, almost all of the statements in this thesis refer to
situations and phenomena within An Coimisiún, although some statements appear to be
true or similar for Irish step dancing culture in An Comhdháil. There is not enough
information available to this author on other organizations to note the differences
between An Coimisiún cultures and the cultures of other organizations. I thus address the
structure and history of An Coimisiún directly. I draw on rulebooks gathered from two
former teachers, a rulebook that is published on the internet, information that is published
on official and unofficial websites, internet messageboards and magazines, the works of
John Cullinane, and personal experience in making these assessments.
Perspectives for Assessing the Structure of An Coimisiún le Rincí Gaelacha
In looking at the impact of structure on organizations, we may employ a variety
of theories, including “rational systems theory,” “contingency theory,” and “institutional
theory.” In his 2008 book, Organizations: Management Without Control, sociologist
Howard Greenwald summarized these means of describing and understanding the
structure of organizations, ranging from theoretical models to aspects of observable
structure, to the importance of informal practices in the shaping of the actual functioning
of organizations.
According to Greenwald’s analysis, rational systems theory suggests that
structures of organizations are often directly related to the goals and objectives of the
organization as a whole. The observable structure is assumed to have a determinative
58
effect over function and achievement of organizational goals (50-51). In contrast,
contingency theory assumes that the structure of an organization may be affected by
environmental variability, and variability among the members of the organization. This
variability may give rise to organizational differences among groups, some of which
may not be a direct result of, or of service to, the pursuit of a specific objective by the
institution as a whole (51-52). These theories have been merged by some scholars, who
assume that structures may be related both to the explicitly stated goals and objectives,
or may be driven by varying dynamics of individuals within an organization, as well as
environmental forces outside of it. This approach is referred to as the “rational-
contingency” theory of organizations (51). An additional theory, “institutional theory,”
suggests that organizations may, in addition to being shaped by the two former sets of
variables, be molded by the motivations, imperatives, ideological context, and historical
context of their founders or of individuals who were prominent earlier in their
organizations’ developmental processes (52-53). This final category of analysis may be
directly related to the age of the organization; older organizations may retain solidified
vestiges of their earlier formations that may or may not suit their current goals, whereas
the structures of younger organizations may be in the process of forming and thus more
malleable.
Some elements of structures may be more easily observed than others. Similarly,
some of the forces that shape structures may be difficult to immediately discern. Some
aspects that may be studied include an organization’s levels of “formalization,
centralization, hierarchy, complexity, and integration” (109). Other means of describing
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an organization’s structure include giving attention to its “locus of initiation, flexibility,
accessibility [both to outsiders and insiders], and opportunity ladders” (109). These
elements of institutional and organizational structure may be created, changed, or
reinforced by an array of factors. These may include the “organization’s size, age, [use
of] technology, [response to] environment, and leadership” as well as its stated
objectives or goals (118). These structural elements, and the forces that create and
maintain them, may be conceived of as falling into a continuum. Structures may be quite
variable between organizations—although also sometimes similar within a field or
between organizations that have comparable pressures and/or interests.
Structures may have a variety of tangible effects. For example, very hierarchical,
formalized or complex organizations may have difficulty coordinating effective multi-
directional communication between organizational levels or dimensions, and/or
soliciting new approaches and perspectives from members.
Functionality of structures may be “reinforced” or “undermined” in a multiplicity
of ways, both formal and informal. Change may be driven by actors at the “top” or at the
“bottom” of an organization. For example, adherence to a more rigid structure within an
organization may be maintained by a variety of means, including the employment of
instruction, correction, the spread of information, and resource allocation within the
organization (107). Contrarily, members at the “bottom” of the organization may
respond to these disciplinary measures by either overtly or covertly resisting them.
Cultural practices also shape the ways in which organizations function. Informal
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practices may be as structurally important as formal procedures in the functioning of an
organization.
Structures of An Coimisiún le Rincí Gaelacha
The categories of analysis laid out by Greenwald, help to assess the formal and
informal structure of An Coimisiún le Rincí Gaelacha as an organization. An Coimisiún
is a non-commercial cultural organization that certifies teachers and adjudicators, and
directs the running of Irish step dancing competitions. However, many of its members
operate for-profit enterprises for the teaching of dancing. An Coimisiún was established
in the 1930s, and although there have been changes in the structure of the organization
since that time, the relative age of the organization makes it less flexible than newer
organizations. In addition, the mission of the founders has a strong influence over its
continued development. In particular, An Coimisiún is impacted by its Gaelic League
heritage in terms of valuing indigenous dancing, not encouraging mixing of dancing
styles with Irish dancing, mandating authentic dress and culture, maintaining a strict
hierarchy of authority, and emphasizing the Irish language, among other points.3
An Coimisiún is a very large organization, with members spanning the globe. An
Coimisiún has several sub-organizations, or councils, including the Irish Dancing
Teachers Association of North America (I.D.T.A.N.A.), the Australian Irish Dancing
Association (A.I.D.A.), and the Traditional Irish Dance Association of New Zealand
(T.I.D.A.N.Z.). There are sub-units under many of these associations. For example, the
I.D.T.A.N.A. is divided up into seven different regions, each of which is self-governing
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to a degree. The size of An Coimisiún limits the ability of a small group of individuals to
fully govern all dancers—allowing for some variation, for example among regions.
An Coimisiún le Rincí Gaelacha is a fairly hierarchical organization with a
defined formal power structure that includes several formal governing positions. For
example, as of 2007, there is a President, sixteen Vice Presidents, a Chairman, two Vice
Chairs, a Treasurer, an Assistant Treasurer, a Public Relations Officer, and chairs for the
Coiste Gaeilge (Gaelic Committee), Examination Authority, Rules Committee, Music &
Dance, Oireachtas, Management & Finance, Overseas Development, Coiste Faire
(Watch/Observation Committee), and Costumes. Although there are many different
officers, and thus one might perceive many different loci of power, authority is in
general fairly centralized in core officers such as Presidents and Vice Presidents, or, for
regions, in regional officers. The hierarchical model An Coimisiún operates under does
not incorporate dancers into its formal structure, and registered teachers, in my
experience, are not all regarded equally according to the structure—although technically
they all have the same level of influence, and are able to vote and attend meetings.
Personal connections, relationships, and longevity in the organization all have an
influence on the amount of power one is able to garner in practice. While the explicit
structure might encourage transparency in terms of operations, it is also my experience
that most dancers are not aware of the structure, for the most part, although if they have
reached the higher levels of competition they will generally at least be aware of the
regional structures. Dancers are also not generally encouraged to articulate their
viewpoints in a formal manner to officials of An Coimisiún, and there exist very few
62
formal grievance procedures for dancers within the organization, and fewer still of
which dancers are aware or utilize.
Membership in An Coimisiún le Rincí Gaelacha
Earning membership and participation in An Coimisiún takes place under highly
formalized routes. Each member of An Coimisiún has been certified by passing a
weekend-long set of intensive tests that are held in various locations around the world. A
person who has passed these examinations is referred to as a Teasgicoir Choimisiuin Le
Rincí Gaelacha (T.C.R.G.). In Ireland, these exams are held three times a year, and in
areas outside of Ireland, tests are held once or twice a year, according to the level of
demand in the country. Tests for dancing certification include a “practical test in
stepdancing,” a “written céilí dancing test,” a “practical test in teaching céilí dancing,” a
“practical test in teaching stepdancing,” a “written music test,” and (for residents of
Ireland) an “oral Irish language test” (An Coimisiún 2005, p. 2). The test sections are far
more intensive than these short categories might suggest and require a great deal of cold
memorization of solo dancing material, group dances, and many very similar pieces of
music. The candidate is assigned dances to demonstrate at random from a very large
pool of potential material, and must not deviate from the standard of the books from
which they study. The T.C.R.G. exam is daunting for even the most accomplished of
dancers and often requires at least a year of independent preparation, which is usually on
the dancer’s own initiative. People who do not pass the solo dancing portions of the
exam can receive the title of Teastas Múinteoireachta Rince Fóirne (TMRF), or teacher
63
of figure dancing, and persons that do not pass some of the sections of the exam may
take it again.
Each candidate for the T.C.R.G. must, in the 2000s, be recommended by a
registered teacher or adjudicator, who certifies that they are a “person of standing and a
suitable person to teach dancing to young people” and also “can perform all sections of
the T.C.R.G. examination… [at] an adequate standard of competency” (An Coimisiún
2005, p. 14). They must also have references from three “suitability witnesses” such as
teachers or police officers, who testify that the applicant meets the aforementioned
criteria of character. In addition, the candidate must pay a substantial fee simply to take
the test.
As registered members, teachers and adjudicators must pay a regular fee, register
their pupils (and include a registration fee for each dancer), and provide proof of public
liability insurance for their dancers.
Members of an Coimisiún are entitled to enter their dancers in official
competitions, vote on changes in competitive Irish step dancing rules, and attend a
variety of meetings for the governing bodies of competitive Irish step dancing. Persons
who have passed an additional examination can become official adjudicators—Ard
Diploma Coimisiún le Rincí Gaelacha (A.D.C.R.G.). Individual members do have the
ability to move up the power hierarchy, and assume positions of further authority.
However, many positions of formal authority are only attained after years, if not
decades, of involvement in the organization.
64
Rules of An Coimisiún le Rincí Gaelacha
An Coimisiún has published a variety of rules that govern such things as
performance guideline (for example, appropriate speeds for music and costumes),
guidelines regulating school operations and maintaining barriers to entry in the
profession (such as rules limiting the ease of transfer of dancers from one school to
another, the prohibition of teaching of classes by uncertified assistant teachers, and the
creation of joint dancing schools or schools with more than one certified teacher),
documentation (bans on flash photography and videotaping at feiseanna), movements
that are not permitted, assistive devices (such as the banning of “bubble heels” on
hardshoes, the use of makeup and “artificial carriage aids” such as back braces) and the
running of workshops and dancing camps. These rules are sometimes enforced, and
sometimes (often) not enforced. These rules tend to spell out what things are not
considered acceptable by An Coimisiún, as opposed to directing what is acceptable, or
promoting specific outcomes. Penalties for the non-enforcement of rules are not clearly
spelled out within the dancing teachers’ manual and are probably subject to discretion
by the authorities of An Coimisiún (personal experience and other documents do not
lend further insights on this point). However, with every rule, there is the potential, the
possibility of enforcement. The rules carry a symbolic value that may exceed their actual
enforcement potential. However, the rules, which are generally only released to teachers,
are not transparent to the general public. This lack of universal comprehension of the
operational rules of An Coimisiún centralizes certain types of authority within the
registered members of the organization, and not their pupils.
65
Irish step dancers interact with a variety of environments and structures, which
are labeled here as “milieus.” These include the competition environment and the
organizations that govern that environment. One of these organizations, An Coimisiún le
Rincí Gaelacha, is global in terms of its membership and hierarchical in structure. Within
An Coimisiún, authority is increasingly concentrated as one goes up the levels. Official
information is controlled by the organization. Membership in the organization, and thus
voting rights, is determined by the achievement of a high level of skill and accreditation
by the organization. Competitors, although registered with the organization, do not have
determining power over its general direction. These factors influence the culture and
experience of participating in Irish step dancing.
66
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ENDNOTES
1 Figure dances and dance dramas are choreographed by teachers, as opposed to being performed “according to the book” of prescribed ceílí dances, Ár Rincí Fóirne (Our Figure Dances). 2 This is because there are generally far fewer competitors in the older age groups, and hence there would be very few World Championships qualifiers if no accommodations were made. 3 Aside from some movements being incorporated from ballet, arm movements inspired by cheerleading being performed in ceílí dances, and other movements, Irish dancing is relatively insulated from developments in other forms.