Dublin and Cork each has its annual feis, with an interval of half-a-year between the two. Each has the dancing championship competition among its features; Mr. Hill’s title was won in 1909, ’10 and ’11 at Cork, also in 1911 at Dublin. As the Gaelic League has prominent among its purposes the restoration to popular use of the Gaelic language, dancing is only one of several artistic contests. Singing, elocution, and conversation, all in the ancient Irish tongue, have their respective laurel-seeking votaries. Superiority in the playing of violin and flute is rewarded, as in playing the war pipes and union pipes. (War pipes, as may not be universally known, are the Scotch form of bagpipes, played by lung power; the wind for union pipes, in distinction, is supplied by bellows held under the arm.) And until within a couple of years lilting has been competed in—the old singing without words, “tra-la-la-dee” sort of thing. The irreverent called it “pussy-singing.” Athletic games are included for the sake of variety. Prizes in all events are usually medals.
The feis in America follows the same model. Dancing enjoys a gratifying popularity. Good work always incites the spectators to shout their enthusiasm. With a prevailing eagerness to learn to judge it more exactly, and a highly respectable knowledge of it at the present moment, there exists also that most wholesome adjunct to interest, a division of beliefs as to school. The Cork technique is comparatively short in step, and very precise; Limerick favours a rather looser type of movement. And there comes in the world-old argument between the Academic and (by whatever name it matters not) the Impressionistic creeds. Each claims to represent the true Hibernianism.
Sweden, during a period beginning a few years ago, has taken up an enthusiastic revival of the dances of the Scandinavian world. The movement began with the foundation by the late Dr. Hazélius of the Museum of the North, and is carried on by his son.
The Museum was planned to bring together a representation of Scandinavia of old, in such a complete way as to show not only products and methods of manufacture, but modes of life and social customs. The result is unique among undertakings of the kind. In a park called the Skansen are preserved the Scandinavian flora and fauna, in appropriate surroundings. Farms are cultivated in the manner of the various provinces, and on the farms are their appropriate buildings, characteristic in every detail. To complete the re-creation of antiquity, churches and all the other structures pertinent to community life are included.
The numerous people required to animate such an establishment, including as it does accommodations for visitors, are the expositors of the national dances. Farmers, shoemakers, waiters in the cafés, are required to learn and practise them, and present them publicly three times a week. It goes without saying that they dress at all times in the costume of the locality of which they are representatives.
The influences of the Skansen have been of a sort to gratify its founder. Society now, as a custom, dresses itself for garden parties in the picturesque gaiety and brilliant colour of old Scandinavia, and dances the Skralât and Kadriljs of the peasants. A saying has sprung up that “dancing is a form of patriotism.” The sentiment has impressed itself no less upon the working people than upon the rich. Children receive dancing instruction gratis in the Skansen, and knowledge has spread into all parts of Sweden. Now, instead of the Polka, which fifty years ago swept over Scandinavia and fastened itself on the land with a hold that smothered every other dance, are to be seen the merry steps and forms that are distinctively of the Norseland, accompanied by the old music. A princess of the royal house sanctions the revival of Scandinavianism (if the word be permitted) to the extent of dressing herself and the servants at her summer-place according to the new-old modes. She is popular and the movement is strengthened accordingly.
The dances are simple in step, though often complicated in figure; lively and gay in manner, and rich in pantomime. Accepted standards of execution require decided grace and a good style. Gustavus III, when he visited France, is said to have been deeply impressed by the exquisite dancing of Marie Antoinette and her court. The element of beauty to be seen in Swedish dancing is supposed to be due in part, at least, to that royal visit.
One of the most pleasing dance-arrangements is inspired by the work of the weaver, with the happy changes of effect constantly wrought by the action of the loom. The Vafva Vadna this dance is called. It is highly complicated, the stretched threads are simulated in the lines of performers, through whom flashes back and forth the girl who represents the movements of the shuttle. Rich variety is gained by involved intercrossings of the lines of boys and girls.
The taming of womankind is the motive of the pantomimic Daldans. Over the head of the meekly kneeling woman the man swings his foot, as a symbol; in another figure the woman’s coquetry reduces the man to helplessness. The Vingakersdans pantomimes the competition of two women for the same man. The favoured one seats herself a moment on the man’s knee, and finishes the number by waltzing with him; while the defeated charmer bites her nails with vexation.
These are characteristic specimens of a very numerous group. Their revival seems to progress more rapidly in the villages than in the big cities—interesting as a case of the country leading the cities in a movement of modernism. Many of the pantomimes are based on work from which the rural population is less remote than are those who dwell in cities. The movements of making a shoe are known to every villager; he has watched the cobbler many a time, and known him usually as the local philosopher. Upon the village, therefore, no touch of character in the Cobblers’ Dance would be lost. The humours of harvesting might in like manner fail to reach a city audience without the aid of spoken word; harvest, with other elemental work, provides many of the Scandinavian dance motives.