Reprinted from Roots & Branches.
Now that I’ve visited Granny Killam’s for a few Winter ales, and found that book of Shetland fiddle tunes I was looking for when we last met, it’s time to chat ’bout two books that you’ve likely never heard of — George Emmerson’s A Social History of Scottish Dance (Ane Celestial Recreatioun), and his other well-known work, Rantin’ pipe and Tremblin” string — a history of Scottish dance music. (Just because you’ve never heard of them doesn’t mean they’re not well-known! Bet you’ve never heard ’bout Otter Creek’s A Winter’s Ale either!)
So, you ask, what am I doing reviewing two books long out of print? Well, the truth is, both books should never have gone out of print because they are simply ‘must haves’ for anyone who is seriously interested in Scottish dancing, as either a dancer or a student of Scottish history. Now I really don’t care a bleedin’ bit if you’re a contradancer, a barn dancer, an English country dancer, or even an English ceilidh dancer, as the roots of your music are at least in part in Scottish dance.
Another feature of the country dance in Scotland is the absence of game dances, or dances introducing the frivolous nonsense familiar to English dances of the period. The Scots evidently had a greater respect of dancing. — A Social History of Scottish Dance.
This book is just what the title says it is — a social history of Scottish dance. Simple undertaking, no? Not really, given that Emmerson’s covering some five hundred years of Scottish dance, starting with the earliest written mentions and pictorial representations of Scottish dancing, and taking it forward to the 20th century. This book covers everything ’bout the history of Scottish dancing, from its origins in the Middle Ages to modern Scottish dancing.
Scottish country dancing did not just appear one day in the formal ballrooms of Scotland (which were actually called Assembly Rooms); the dance evolved over the centuries. English country dances — yes, those dances now common in contradance circles! — were known to the English royal court by the 1600s. The landed gentry of Scotland, both native and English in origin, were introduced to the tradition when they were invited to these private occasions.
There is little written information of country dances being taught in the Scottish dance schools of the time. Not until after the early 1970s did regular dances held in assembly rooms appear in any Scottish town. The appearance in the assembly rooms is the first evidence that country dancing existed in Scotland. These assembles and the dances thereof (Foursome Reel, Quadrille, and so forth) are explored in detail, as is the restoration of the more traditional Scottish country dance.
The style of dance now known as Scottish, and where it came from, is also looked at, and the jig, reel, and more formal dance that are the preferred tradition of the Scottish dance culture are considered within their historical context. The jig and hornpipe, which were imported from English country life, particularly the dancing schools, are examined in detail as they had a great influence on the Scottish dancing tradition. There’s some interesting material on then current (early 70s) dance competitions that were meant to preserve the dance tradition of the Scottish Highlands, i.e., the Highland Fling. (It is very sad that Scottish-born and raised Emmerson never updated his book after its initial release.)
Unfortunately, A Social History of Scottish Dance is less than ‘alf of the story. But that story gets told in loving detail in Rantin’ Pipe and Tremblin’ String — a history of Scottish dance music, which was actually published a few years before A Social History of Scottish Dance but which was updated relatively recently. Emmerson was a dancer, teacher, poet, and author — all of which really show in his writing style, which is detailed without being stuffy.
This book’s actually more entertaining to me as a musician as it’s really ’bout music, with dance being a secondary subject. An important secondary subject, but a secondary subject nonetheless. I find it interesting that a creator of such well-known and great dances as ‘Sauchie Haugh’ and ‘Miss Catherine Allan’ seems to be more comfortable writing ’bout music than ’bout dancing. It is mostly ’bout Scottish dance music, but it is a bleedin’ good reference for information ’bout Scottish music in general up to the middle decades of the past century.
It begins its study in pre-medieval times and works its way up from there. Emmerson has included one of the best examinations of the elements of early Celtic music that still survive in modern Scottish music. If you read nothing else in this book, read ‘The undying tradition of the Celt’ in the concluding chapter!
The role of music in recreating such dancing is examined in detail, along with related question such as if it was considered a sin to play the bagpipes (sort of, but not really), whether later reformers didn’t like the bagpipe (more likely), and so forth. Emmerson does a particularly bang-up job of setting music in the croft, castle, village inn, fair, and other places that the music took place. We in this century are more likely to hear a Scottish fiddler like Aly Bain in a sterile, rather large concert hall than in a small, intimate — and often very noisy — pub. As a musician, it’s more profitable for me to play in the former, but it’s more real to play in a pub or to busk on the street as it’s their space, not yours! Emmerson brings the music to life — a neat trick that’s hard to do!
Oh, did I mention that there’s many a good tune included here? Well, there is! Any decent fiddler will find these tunes to be good craic, and in turn will produce good craic whether played in a session or in a concert. I certainly found both A Social History of Scottish Dance and Rantin’ Pipe and Tremblin’ String to be fine reading, both from the viewpoint of being a fiddler and a student of Scottish cultural history. I suspect that you too will find these works to be fascinating. Meet me at Granny Killam’s and I’ll spot you the first pint of A Winter’s Ale while we discuss these books, fiddle tunes, and other matters.
If you are really interested in the history of Scottish dancing or music, these books are worth their price from the usual online book finding services.
(Ane Celestial Recreatioun) (McGill-Queen’s University Press, 1975)
(J.M. Dent & Sons, 1972; Galt House, 1988 2nd ed.)
Comments