ANOTHER tour from the North by North East consortium’s Touring Scottish Talent scheme, which last year saw the excellent ‘Macbeth’ from Open Book amongst other gems, Dannsa’s ‘Connections’ was another step in their long running campaign to get Scotland up on its feet, dancing.

USING moves from both Highland and country dancing, returning step-dancing to the mix, and blurring the boundaries between dancer, musician and singer (nearly everyone in the show performed all three roles), Sandra Robertson, Caroline Reagh and Fin Moore created a gently enticing evening celebrating the heart of our culture.

The Dannsa dancers (photo Maria Falconer)The Dannsa dancers (photo Maria Falconer)

They’d recruited a solidly talented bunch of conspirators – Dannsa co-founder Frank McConnell, rising star of the music scene Matheu Watson, Cape Breton stepdancer and pianist Mac Morin and Mod gold medallist singer Catriona Watt. Watt opened with a waulking song, showing off her fine, rich voice and the effortless precision of Morin’s footwork. It was, as mentioned more than once by the participants, their first night and there was some understandable nervousness in the first half, which was densely packed with some complex new dances. A rare glimpse of Hebridean dancing (not, as they explained, a lazy form of Highland dancing) left this reviewer keen for more.

Though all the dancers were seasoned performers, again and again the eye was drawn to Morin whose dancing has that air of relaxation and always having something in reserve that exemplified the late Fred Astaire and only comes from hours of dedicated practice on a base of pure, natural talent. There was much to enjoy in the exuberant feel of many of the pieces in which the dancers ran or skipped lightly around the Hall as though in a school playground. Their enjoyment was infectious and it probably would not have taken much encouragement for the audience to join in.

The musicians took over now and then to give the dancers a rest and allow an appreciation of some simply dazzling musicianship in traditional tunes ancient and modern, with a brief trip over the border for some Northumbrian airs including ‘Over the Dyke and Tell Her, Laddie’, which evoked spontaneous foot percussion from the audience. Throughout, Watt’s voice, whether in puirt a beul or the doleful Gaelic laments, was a constant joy, rich and true, and one to watch as it develops.

Connections was a thoroughly enjoyable night out which also made a persuasive argument for the regular inclusion of dance as an integral part of Gaelic culture.

© Jennie Macfie, 2012

Links

• Dannsa
• Jennie Macfie

THEY were formed initially by Mats Melin for a gala concert at Eden Court Theatre in 1999, where he was joined by Frank McConnell, Caroline Reagh and Sandra Robertson. The group has continued to cultivate an exciting repertoire of traditional Scottish dances since that debut, and have established equally strong connections with the step-dance tradition of Cape Breton, which had Scottish origins.

INDEED, the revival of Scottish step-dance over that period was sparked in large part by the discovery of a thriving tradition preserved in Cape Breton. The authentic dances have been “re-imported” to their native turf, and Dannsa were very much in the vanguard of that revival.

Sandra Robertson and Caroline Reagh (top) with Mac Morin and Frank McConnell (photo Maria Falconer)

Interestingly, the current core group consists of Sandra Robertson and Caroline Reagh with piper and step-dancer Fin Moore. Fin is the son of Hamish Moore, one of the people very much responsible for the re-discovery and dissemination of Cape Breton dance in Scotland.

For their North by North East tour, that trio will be joined by Frank McConnell, Cape Breton dancer Mac Morin, guitarist Matheu Watson and Gaelic singer Catriona Watt. Sandra Robertson explained the genesis of the project.

“We had invited Mac – well, to be strictly accurate, Mac invited himself! He had some free time a year or so ago, and had worked with us in the past and fancied doing it again, although at that point he was really just coming over to try things out – there was no formalised project at that stage. We put something together and went out and did some workshops and very informal performances, and we all enjoyed that.

“From there we thought, okay, let’s put a more formal proposal together and see if we can get some funding, and that has become the Dannsa Connections show we are doing for North by North East.

“The connections with the group and Cape Breton dance go back a long way, and we wanted to take that on. It will be good to have Frank back with us again – he is very busy with his plan B company and took a step back from full membership, but always likes to come back and work with us.”

Dannsa's current core trio of Sandra Robertson, Fin Moore and Caroline Reagh

The new show will focus on their long-standing engagement with step-dance. The traditional Scottish style of step-dance does not involve the spectacular high kicking routines familiar to millions from Irish dance, and especially the popular adaptations in Riverdance and its successors.

The dances developed for ceilidhs in Highland farm kitchens and other cramped spaces, where wild flailing or kicking would have threatened your neighbour’s shins, or worse. Instead, they developed as close-to-the-floor routines, but with plenty of scope for embellishment, improvisation, and a degree of individual expression.

“Step-dance has been the main collective passion in the group,” Sandra agreed. “We all have different backgrounds – I’ve got quite a bit of Highland dance, for example, and Caroline has contemporary dance, and we bring those things in, but always with step-dance at the heart of it.

“From that we have been inspired or intrigued enough to try and take things a bit further. Sometimes when you look at the old-fashioned notations of how dances were done, it is fascinating to take that away from the paper and see how it develops into a different thing, especially when you take it on stage for an audience. We are constantly tweaking things.

“The new show is more like a concert-type format than many of our shows, by which I mean there isn’t really any audience participation in the dancing. We’ll be presenting a dozen or so fairly short pieces, and there will be opportunities for the musicians to have their own slots, which also gives us a chance to catch our breath!

“We have some new material that people won’t have seen before, and we are looking forward to taking them out, and we have arranged some pieces that were originally for Caroline and myself to include Mac and Frank. Lots of new stuff, then, which certainly ensures that we keep the brain cells working as well as the physical side!”

The full line-up for the Connections tour (photo Maria Falconer)

The process of creating new work within a traditional form can take many shapes, and Sandra reckons that there is no one set way in which that happens within Dannsa.

“It can start off in many different ways – I wouldn’t say there is a single process. It can start with a rhythm or a bit of music, or it can be a style of dance that we haven’t done. It can just be one person who has a particular interest and floats an idea, then we all work on it and it moves in different directions.

“Sometimes we reach a point where it becomes over-elaborate or we find ourselves adding in things without a real reason, and we have to unstitch it all because we are not happy with the way it is sitting, or we have come to a dead end, so there is a constant process of questioning and reconsidering what we are doing as we create a piece.

“Fin is probably our greatest critic when we are developing new work. He is very into the creative process in what we do – he doesn’t just turn up and play the music. He has had an immersion in step-dance from a very early age, and he loves to join in the dancing as well as playing.”

I wondered if any of the group had envisioned Dannsa reaching a second decade when they first launched?

“Definitely not, no, it has been a big surprise to all of us,” she laughed. “We just wanted to do it in the first place because we enjoyed it and had some ideas that we wanted to tackle, and we still do. As those ideas developed and we put in applications for funding we kept on being successful, and that gave us the momentum to keep on going.

“There have been lots of sources of inspiration for us over the years, whether it be collaborations or just coming up with a new idea that we fancied poking our noses into a bit more, and that has helped to keep our enthusiasm high.”

The group’s name is simply Gaelic for dance, and has caused occasional mis-understandings over the years, especially in Sandra’s native turf (she is originally from Barra).

“Back at the start we all sat round the table in my kitchen in Kingussie and came up with lots of different ideas,” she recalled, “but I can’t remember exactly who it was that suggested Dannsa. It does lead to a wee bit of confusion, especially in the Outer Isles, when events are advertised in a way that makes it sound as if it is a dance rather than a performance, so we have to be careful about how we word our posters and adverts!”

Following the NxNE tour, Dannsa will be reviving the Connections show for further dates later in the year. More immediately, they will be visiting schools in what will be the fourth year of their Gaelic project, giving workshops and demonstrations.

Dannsa Connections is on tour from 5-21 April 2012.

© Kenny Mathieson, 2012

Links

• Dannsa
• North By North East

Beolach

A DEFINITE ‘meeting of minds’ was the by-line for this dual presentation profiling the links between the Scots Hebridean and the Cape Breton dance and music traditions, featuring Dannsa from Scotland and Beòlach from Cape Breton, brought together in a collaboration for Highland Homecoming.

Dannsa are well known in the Highlands as exponents of new and traditional Highland dance traditions, and this performance showcased both traditional steps and more contemporary step dance figures. Opening with their own version of the traditional sword dance, with fiddle bows substituting for the swords, the dance was no less exciting with wood instead of metal, and becomes one of those performances which endure repeated viewings, without losing impact.

Dancers Sandra Robertson, Caroline Reagh and John Sikorski were joined by piper Fin Moore to complete the traditional ‘4s’ of square dance sets as required. Fiddler Gabe McVarish and guitarist Ewan McPherson, of the band Fribo, provided an extra foil of bright and sympathetic texture to the often deliberately sparse and striking solo lines.

Gaelic singer Gillebride Macmillan delivered the necessary sets of puirt a beul (or mouth music) for the solo and ensemble step dance sets. From experience this writer knows the pitfallsand difficulties of singing solo puirt for step dancers, and some of the puirt used here is amongst the most difficult to sing – ‘Meal do bhrògan’ and ‘Faca sibh Mairi’, for instance.

One of Dannsa’s trademark sets is a set of dances sung to waulking songs, which again provide a wealth of potential problems for singers but are intriguing to watch. Songs including ‘Ho ro mo Chuachag’ and ‘Gaol ise’ provided perfect rhythmic regularityfor the percussive footwork.

One of Dannsa’s other specialities is the ‘Latha Lùnasdal’ or ‘First Of August’, sung to the Uist tune ‘Tàilleir Mor’, and is always a highlight of a Dannsa performance.

Beòlach’s more upbeat style of performance was a perfect contrast to Dannsa’s more introspective style, but retained that echo of the intrinsic ‘Highland’ culture, taken over to Cape Breton by the emigrants over the Centuries. Lively sets, more stately waltz sets and emotive instrumental ballads were also still recognisably of a ‘Scottish’ connection.

Fiery footwork from all the performers, including fiddlers Wendy MacIsaac and Mairi Rankin, was complemented by great traditional Cape Breton piano from Mac Morin. All had the audience wanting more. Theirs may have been a more relaxed and informal style of performance, but each group had its ownidentifiable style and each its own distinctive elements.

To this writer, this gig was what Highland Homecoming was – or should have been – all about, celebrating those who left Scotland, with their language and culture and how it has returned home. An inspired pairing of artistic showmanship, and nowhere more evident than in the final set when both groups came together and performed a set of tunes and Gaelic songs, with step dance from all – including the lovely Gaelic emigrant pìobaireachd air “Fraoch a Ronàigh”.

‘S math rinn thu Dannsa for bringing this show to the Highlands – a true representation of Scottish and Cape Breton Highland Culture at its best.

© Fiona Mackenzie, 2009

Links

• Beòlach
• Dannsa

DANNSA aim to promote and celebrate traditional Scottish dance.

Mission Statement

Dannsa are a professional dance collective who celebrate the rich culture and infectious energy of Traditional Scottish Dance. The collective comprise of Caroline Reagh, Sandra Robertson, Frank McConnell and Fin Moore, who has taken on the role previously filled by Mats Melin. Others join the group to provide fiddle and Gaelic song.

Our aims are: the celebration of the rich tradition of Scottish music and dance and Gaelic language through performance, teaching, and collection of dance variations; showcasing and encouraging participation in the best of Scottish traditional dance; and conserving our dance heritage for future generations.

Creating and performing contemporary dances based on traditional patterns; developing understanding of links to the dance and music heritage of other Celtic cultures, through study and practical experience – e.g. Ireland and Canada; and working in partnership with organisations sharing these objectives, for the benefit of communities, the arts, and dance development in general.

We are in our seventh year of carrying out these aims from our base in Kingussie. We initially came together as a group to share in dance and from there had the idea to tour some of our new choreographs by performing in rural communities throughout the Highlands. We have developed one major tour each year. This year’s tour was a very successful Scottish Arts Council-funded Tune-Up tour, where we joined by First Harvest.

The company has also performed at major festivals throughout Scotland, such as Celtic Connections in Glasgow, Highland Festival in Inverness, and at the Holyrood Palace Garden Party in the presence of HRH the Prince of Wales.

Through performing and touring we believe that we have a legacy to our culture in our dancing and as a result of requests from people attending our gigs we have expanded what we do to include educational aspects such as our annual dance festival and schools residencies.
 

Current Production or Work-in-Progress

The first week in September marked the start of our ‘Four Corners’ project taking place across the Cairngorms, with Caroline Reagh and Fin Moore leading workshops in Carrbridge and Abernethy primary schools.

The ‘Four Corners’ project came about after steadily developing an interest on both sides of the Cairngorms for traditional dance and music, through performing and teaching. We are also working in the Braemar, Angus and Killiecrankie areas, as well as Badenoch and Strathspey over the next two years as part of this project, which has been funded by Cairngorm Leader+, Cairngorm National Park Authority, Hugh Fraser Foundation, BBC Children in Need and Aberdeenshire Council.

Preparations are underway for our annual dance and music festival, ‘Strathspé Away’. The festival runs from the 10–12 November in Kingussie . The weekend kicks off with a ceilidh dance by The Occasionals. The weekend continues with a similar high calibre of performances, classes, recitals and lectures which offer something to whet the appetite of the the most ardent dance and music fans, but there’s also a warm welcome for those who want to pop into one class, or just come along to the evening concerts.

Saturday and Sunday offer classes in Step dancing, Country dancing, Gaelic, Fiddle, Puirt-a-beul (Gaelic mouth music), Irish Set dancing, Highland and Hebridean dancing, Ballroom and Latin American, Mouth Organ, Ceilidh and Quadrilles. The line-up of tutors is as exciting as ever, including First Harvest’s Iain MacDonald and Kathleen MacInnes, Jim Barry from Ireland, and Dr Seumas Grant from Rothiemurchus.

One of the most exciting aspects of the classes is the live music in all the dance classes. Other tutors and musicians including Karen Steven, Carol Anne MacKay and Gabe MacVarish, as well as Dannsa’s own Caroline Reagh, Sandra Robertson, Frank McConnell and Fin Moore. Dannsa will join forces with First Harvest for the big Saturday night extravaganza as a follow up from their tour earlier in the year.

The festival has been funded by the Scottish Arts Council . Further information from Sandra Robertson on 01540-661594 or 07786454470

We are planning a small tour to Four Corner Communities in March 2007. We are also responding to increased numbers of requests for performances this year and of course for 2007, one of which is the Highland 2007 reception at the Scottish Parliament later this month.

Fantasy Theatre

We are hoping to launch a few exciting new projects, such as ‘Obair Urlair’ (Groundwork), where we will work with Cape Breton dancers and musicians as well as some Badenoch and Strathspey schools and Fèis Spè to create new work culminating in a shared performance.

We have also have a singing project, ‘Guth’ (the voice of dannsa) in the plans, where we will collaborate with 6 of Scotland’s finest Gaelic singers. We also hope to produce a music CD as well as a tutorial DVD, as we feel these are VERY overdue!

Golden Moment

There have been many high points; all the communities we have visited have left us with memories. We have a unique blend of performance and participation which allows any barriers to be broken down immediately, a recipe that works particularly well in rural locations. Two summers ago we did a gig in Muck where all of the community attended except for one lady who was baby-sitting – we were very excited by that!

And Not So Golden Moment

Any knock-back from funders! We carefully consider all of our projects and lots of time and effort goes into the planning and initial stages, so to cancel or compromise a project is a huge disappointment.

© Dannsa, 2006

Links

• Dannsa

© John Sikorski

NEVER MIND the great debate about its role in the origins of gospel music, did Gaelic culture beget the drum solo?

As singers Liz Maclean and Kathleen MacInnes took a few bars rest during their puirt a beul (mouth music), Donal Brown certainly step danced some fine evidence for this claim with the kind of rhythmical creativity that would make any drummer proud.

There’s much percussive drive, too, from Brown and his Dannsa colleagues, Sandra Robertson, Caroline Reagh and Frank McConnell in this celebration of the Scottish tradition’s three graces – music, song and dance – which is touring the Highlands & Islands this week under the Scottish Arts Council’s Tune Up banner.

Manoeuvring nimbly across the floor to their own accomplished musicians, Fin Moore (Highland and Border pipes) and fiddler Gabe McVarish, and to touring buddies First Harvest’s West Highland zest, the Dannsa quartet created a winsome, hypnotic effect with their ensemble phrasing and call and response footwork.

Their sword dance, with the more toe-friendly fiddle bows replacing sabres, was a particular delight, combining technical assurance with gracefulness. And if their joy in reviving dance steps that in some cases have lain dormant for generations tends mostly to be confined to subtle eye contact and quiet smiles, there was no doubting the exuberance of ‘The Spinning Reel’ as bodies flew in a dizzily spinning circle.

First Harvest is built around the long-time friendship of the Iains, MacDonald and MacFarlane, who between tours with Battlefield Band, Blazin’ Fiddles and Boys of the Lough have developed the sort of understanding that allows the former’s pipes, flute and whistles and the latter’s fiddle and accordion to combine as one voice.

With guitarist Ross Martin lending inventive, propulsive accompaniment, they zipped through marches, strathspeys, reels and jigs with expressive and impressive brio and gave informed – although this might not necessarily equate with true – introductions.

They also gave apposite backing to the aforementioned Kathleen MacInnes, from South Uist, whose smoky-toned voice and melodic sensitivity lent real depth of character to songs including the sad, lamenting ‘Oran Dhomhnaill Phadraig Iagain’ and ‘Jimmy Mo Mhile Stor’, a tale of a lover leaving for pastures new.

All in all this is hugely enjoyable presentation and when all eleven participants get together for one final, rousing spree, it only serves to underline the breadth and depth of talent involved.

Footnote: I caught the show in Findhorn, and agree entirely with Rob’s judgement. Unfortunately, Donal Brown was unwell that night – we hope he is restored to full vigour for the rest of the tour – Ed.

Dannsa with First Harvest perform at the Craigmonie Centre, Drumnadrochit, 10 June; Universal Hall, Findhorn, 11 June; Glenuig Hall, 14 June; Macphail Centre, Ullapool, 15 June; An Lanntair, Stornoway, 16 June; Ardross Hall, 17 June.

© Rob Adams, 2006

Links

• Dannsa
• First Harvest
• Tune Up
  

SANDRA ROBERTSON sets the scene as Dannsa and First Harvest prepare to collaborate on a Scottish Arts Council Tune Up Tour.

DANNSA and First Harvest first got together at the Ceòlas Festival in South Uist last year, although everyone involved in the tour has known everyone else for years.

Iain MacDonald of First Harvest is the artistic director of Ceòlas, and most of the Dannsa members are tutors at the festival. The festival was set up by Hamish Moore, and his son, Fin Moore, is now a core member of Dannsa as our permanent piper, so that’s another connection there.
 
Last year Iain asked if we would do half of an evening with First Harvest at the festival. That went down well and we both enjoyed it, but we each did our own set and that was it. We were all interested in taking it further, and a tour seemed a logical extension, so we applied for the Tune Up programme, but this time with a more collaborative show.

Tune Up encourages that kind of thing, and getting that funding allowed us do something that we couldn’t justify economically without that support. Taking this many people on the road is expensive, and the logistics are more complex as well. We have the luxury of a tour manager, which is something we have never had before, and we are all very relieved about that!

We tend to work from ideas that are already there, and then put our own steps to them

First Harvest will play the first half of the show, and Dannsa the second, but there will be some collaboration between the two groups in each half, and we’ll get together to do a joint piece at the end, probably on ‘The Spinning Reel’, which is the first piece Dannsa ever performed.
 So there will be interchanges, it won’t be just two separate performances. We have quite a lot of performers on board – Dannsa have the four dancers, myself, Caroline Reagh, Frank McConnell and Donal Brown, plus Fin Moore on pipes, Gabe McVarish on fiddle, and Gaelic singer Liz McLean.

First Harvest has the two Iains, Iain MacFarlane on fiddle and Iain MacDonald on whistles and pipes, with Ross Martin on guitar and Gaelic singer Kathleen MacInnes. Kathleen has also worked with us in the past, and the two singers will be doing something together at some point, and Ross and Gabe play together quite a bit, so there are lots of possibilities for collaborations.

Frank and Fin have been getting their heads together with Iain MacDonald about the whole balance of the evening. Both of us are used to doing a full evening show, and we obviously have to cut that back. We are looking at ways of ensuring there is plenty of variety in the programme, so that it’s not just a succession of the same people on stage for each piece.

We have worked out a programme that we feel has quite a nice flow to it, and I know First Harvest are working on getting some new sets together. Each group is responsible for the flow and feel of their own set.

We have worked up some new material for the tour, including a set called ‘The Skye Collection’ based around tunes from that collection, and some Hebridean dances that aren’t done very often. They are a kind of cross between step dance and Highland dance, with quite a lot of percussive elements. I’m from Barra originally, and there was a bit of a revival of the style around the Barra Feis about 20 years or so ago, but it’s still not seen that widely outside the islands.
 
We will also be revisiting a number of dances from our existing repertoire. We have done ‘The Spinning Reel’ quite a bit, for example, but it is still one of our favourites. We tend to use existing dances, but then put our own slant on it.

In the case of ‘The Spinning Reel’, for example, we used the old quadrilles as an inspiration, and there is a fleeting moment in the dance when we go into it, but the rest is ours. We tend to work from ideas that are already there, and then put our own steps to them.

Putting steps to the waulking songs with Mary Anne Kennedy was something that hadn’t really been done much at all, for example. I’m very keen on them, and I sing a bit in a local group here in Kingussie.

We all tend to chip ideas into the pot, and we work the thing out in a collaborative way rather than having someone doing definite choreography duties, although we have just been awarded funding from the Scottish Arts Council to commission work from two choreographers, Mats Melin and Morag Johnston, who is originally from Skye. They will both be creating dances for us, and that is the first time we have worked that way.

Donal Brown is standing in for Mats in the group while he is teaching for a further year in Limerick. Donal also plays flute, and he’ll be doing something with Iain MacDonald at some point in the show, and Fin Moore will actually be doing a wee bit of dancing – he’s not bad!

Our formal aim in Dannsa is to bring traditional dance into the 21st century, but we also feel that we want to keep it in its tradition as well, we don’t want to lose that along the way. It’s not so much a matter of historical preservation as of finding ways that we can carry on the tradition into our own time, but also bring it forward and make it usable for us.

Dannsa with First Harvest perform at the Craigmonie Centre, Drumnadrochit, 10 June; Universal Hall, Findhorn, 11 June; Glenuig Hall, 14 June; Macphail Centre, Ullapool, 15 June; An Lanntair, Stornoway, 16 June; Ardross Hall, 17 June.

(Sandra Robertson spoke to Kenny Mathieson)

© Kenny Mathieson, 2006

Links

• Dannsa
• Tune Up

GEORGINA COBURN looks at the latest developments in the work of the Strathspey-based dance group Dannsa.

DANNSA is a collective committed to “the development of the cultural identity of Scotland through Dance, Gaelic Song and Traditional Music”. The group formed in 1999 and have continued to delight audiences with their energetic and exciting dance performances.
 

Providing the unique opportunity to join in dance through audience participation in  their touring performances, Dannsa have worked with remote and rural communities in the north and west of Scotland and have also toured Ireland, Northern Ireland and Sweden.

Dancers Frank McConnell, Mats Melin, Caroline Reagh and Sandra Robertson (also Dannsa’s Joint Artistic Directors) are joined by piper Fin Moore as the fifth core member of the group.

Dannsa regularly perform on tour with a pool of Scotland’s most talented musicians including singers Mary Anne Kennedy, Liz Maclean, and Fiona Mackenzie, fiddlers Karen Stevens, Allan Henderson, Gabe McVarish, Mairi Campbell, Ronan Martin, and Kenny Fraser, and piper Donal Brown.

They plan to re-launch the company through the implementation of a new business plan in 2005–2008, and have appointed Sheila Faichney (former Head of Marketing for Visit Orkney) as Development Manager from April 2005 to assist with the growth and expansion of the group’s activities.

Following registration as a company limited by guarantee, their plans for sustained growth include reorganising with a Board of Directors and Management Group, and establishing a trading arm of the company.

One of the results of Dannsa’s successful touring schedule has been the creation of additional work at the request of its audiences, including a demand for short teaching courses, education programs and CD production. The business plan in the next three years will be an outgrowth of Dannsa’s performance and community involvement and a strong foundation for its future.

“It is an ambitious and inspiring programme which is a direct outgrowth of their dynamic approach to performance”

Building upon the relationships developed through teaching and performing in existing communities with a strong dance and music tradition, Dannsa will revisit areas previously visited and will also seek to develop new audiences through touring new geographical areas, active participation in the summer festival season, and a 2005 tour with Hamish Moore’s Na Tri Seudan.

The group’s association with Na Tri Seudan began following a Celtic Connections performance with 18 participants in 2004. The Glasgow show was extremely well received, and funding was sought to make this collaboration possible again through the Scottish Arts Council’s Tune Up scheme (summer dates are still to be confirmed).

Dannsa’s future projects include extensive touring which will take place in June, July, August and October 2005, music CD production, educational work including the production of a CD ROM, and working with schools.

The group are based in Kingussie, and will be building on interest generated by their September tour in Cairngorm National Park and hope to work with schools both east and west of the Cairngorms.

Dannsa will also host their third Weekend of Dance Festival, “Strathspey Away”, in Kingussie (11th-13th November). It will include ceildhs, performances and classes in  Stepdance, Ballroom dance, Ceilidh Dance, Country dance, Irish Set Dance, Fiddle, Gaelic Mouth Music and mouth organ. Dance videos will also be shown over the weekend.
 

In addition, they hope to engage in health initiative development, in professional development and performance exchange with contacts in Cape Breton, and further expand international cultural links in dance and music.

It is an ambitious and inspiring programme which is a direct outgrowth of their dynamic approach to performance and the presentation of a living tradition to celebrate and share with communities here and abroad.

According to Sandra Robertson, at the heart of Dannsa’s programme is an ethos of inclusiveness “to encourage and increase people’s appreciation of dance, and bring people of all ages and abilities together through attending performances, ceilidhs and workshops. Often the celebration of one’s own traditions to a mixed audience of visitors and residents can create a new appreciation of one’s own culture and an increased joy in sharing it”.

To me, this is the spirit of traditional music itself as a unifying experience and a natural outgrowth of a communities’ sense of  identity.

© Georgina Coburn, 2005

Links

• Dannsa website
• Tune Up website

WE WERE promised a sensational weekend and it certainly lived up to it, and more. This was the second year of the “Strathspey Away with Dannsa” event in Kingussie, and managed to surpass most of the students expectations.

We were totally spoilt for choice, with new classes being added in fiddle, puirt-a-beul (mouth music) and mouthie, and a wealth of talented tutors for all of the classes. More than 120 students from Scotland and England enrolled in classes over the weekend.

The Festival got off to a brilliant start on Friday night with a packed dance floor, all trying to keep up with the very lively ceilidh music of the Incredible Fling Band. All ages took to the floor and enjoyed themselves whether they knew the dances or not, or indeed ,whether they were able or not.

After lunch on Saturday the group Amh gave a breathtaking performance in the Talla na Ros. No wonder they’ve been called the future of Gaelic singing, I feel sure we’re going to hear a lot more from this trio in the future.

Saturday evening’s concert with Dannsa was excellent yet again. They danced steps, moves and rhythms drawing on the whole spectrum of Scottish Traditional dance, stretching the limits the whole time. And when you don’t think you can be surprised by much more, on Sunday we were given a chance to see a contemporary piece of work performed by Caroline Reagh and Ian Hardie, which was stunning!

All in all an incredibly well organised Festival with a very personal touch from the organisers and tutors.  Thank you on behalf of all the students. Roll on Strathspey Away 2005 and give me another weekend in Heaven.

© Sheila McCutcheon, 2004

L to R: Mats Melin, Frank McConnell, Caroline Reagh and Sandra Robertson © John Sikorski 2004

DANNSA’S Mats Melin, Frank McConnell, Caroline Reagh and Sandra Robertson are, without a doubt, true professionals. Their charm, charisma and wit were on display at The Royal Highland Hotel, where they made a visit for the Inverness audience at the Highland Festival during their Hebridean Tour.

It is easy to see why they have a strong and loyal following. They bring the art of step-dance to life; they engage with the audience readily; and display a strong sense of camaraderie which is highly infectious. When the audience were called up to dance during the show, they did so with eagerness – a healthy sign for any group of performers that all is well!

Dannsa moved smoothly from piece to piece, blending fiddle from Gabe MacVarish, pipes with Fin Moore and Gaelic song from Liz Maclean . Each dance, song and tune eased itself into the reportoire.

Good humour and high energy are a vital part of Dannsa’ s performance. Every dance is a refined piece of art with the artists able to both smile at their audience and concentrate on the intricate steps they have designed for jigs, reels and waulking songs. Sandra, Caroline, Mats and Frank weave around each other in perfect timing, constantly on the go. They keep their eyes on each other, mischeviously looking for the right moment to put one another off, much to the delight of onlookers.

They were great to watch, and in fact great to be with. Dannsa made the audience feel as if they were part of the troupe; a bonding experience well-worth having.

Dannsa can be seen at the following venues:
Berneray Community Hall, Thursday 10 June 2004
Eriskay Community Hal, Friday 11 June
Castlebay Community Hall, Barra, Saturday 12 June
Sandra Robertson will be at Muir of Ord Church Hall on Saturday 19 June (2pm), leading a step-dance workshop for Hielan’ Toe, accompanied by fiddler Roz Bell.

© Jelica Gavrilovic, 2004