Movements

Question 1

Bow

Answer 1

Standing with the feet and head in first position with the arms in first or by the sides, bend forward slowly and return to the original position. When the arms are by the dancers side they should be taken to first position on the count following the bow. At the end of each dance, feet, head and arms are in first position for the Bow.
Note: The depth of the bow must not be exaggerated and the count varies according to each dance.

Question 2

Hop

Answer 2

A movement of elevation beginning on the ball of one foot and finished by landing on the ball of the same foot.

Question 3

Spring

Answer 3

A movement of elevations beginning in the ball of one foot and finished by landing on the ball of the other foot.

Question 4

Assemble

Answer 4

A movement of elevation beginning on the ball of one foot and finished by landing simultaneously on the balls of both feet in third or fifth position.

Question 5

Disassemble

Answer 5

A movement of elevation beginning on the balls of both feet in a closed position with the weight equally distributed, and finished by landing on the ball of one foot with the other foot raised to, or placed in a specified position.

Question 6

Rock

Answer 6

Spring from the Third or Fifth position to Third Rear position, or vice versa, pointing the working foot simultaneously on landing. Rocks are usually danced in series, in which case the rock may be executed starting from an open position. The rear foot is always pointed first.
Note: When the working foot is pointed during this movement the toe touches the ground lightly.

Question 7

Spring point

Answer 7

Spring, and point the working foot in an accepted open position, both feet touching the ground simultaneously.

Question 8

Step

Answer 8

A transfer of weight from one foot onto the ball of the other foot. Can be executed with or without travel and, where specifically designed, the heel may be lowered to finish on the flat foot.

Question 9

Change

Answer 9

A movement of elevation begun with the weight of the body on the balls of both feet in third or fifth position and finished by landing on the balls of both feet simultaneously in third or fifth position with the other foot in front. During the elevation there is no extension towards second Aerial position.

Question 10

Leap

Answer 10

A movement of elevation begins from the balls of both feet in third or fifth position, extending both legs towards second aerial position, and finished by landing simultaneously on the balls of both feet in third or fifth position with or without change of feet. On the extension during the elevation, both legs should be straightened.

Question 11

Entrechat

Answer 11

A movement of elevation commencing on the balls of both feet in third or fifth position. During the elevation execute two change actions before landing with the same foot in front.

Question 12

Toe-and-Heel

Answer 12

Hop or spring and, simultaneously on landing point the working foot in a specified position, then hop and, simultaneously on landing, place the heel of the working foot in the same specified position. This movement occupies two beats of music.
Note: The specified position for this movement may be second, third, fourth-opposite-fifth or fifth position. The 90-degree turn out required for the working foot in second position should also be aimed for in the other three positions.

Question 13

Shake (seann triubhas)

Answer 13

The shake actions come from the knee controlled by the thigh and they should he started while flexing the knee of the supporting leg in preparation for the hop, simultaneously on landing from which, the working foot arrives at its highest point.

Question 14

Pas de Basque

Answer 14

Preparing with an extension of the working foot to second aerial position low; spring to that side, bringing the new working foot to third or fifth position, placing it on the half point, then beat the ball of the other foot in third or fifth rear position at the same time sharply extending the front foot, if required, to begin the next movement.
Note 1: The same position, third or fifth must be used throughout the movement.
Note 2: When a turn, or part of a turn, is executed using two pas de basque,
there is no extension to finish the first pas de basque and the second is danced with little or no travel.
Note 3: This movement may also be danced with other than lateral travel, in which case the extension of the starting foot is along the required line of travel, generally towards fourth intermediate aerial position.
Note 4: The back beat should not be exaggerated and should be executed on count 2 and the toe raised no higher than the heel of the supporting foot.
Counting (2 Pas de Basques)
Sword Dance 1& 2 3& 4
All other dances 1 & 2 3 & 4

Question 15

Open Pas de Basque

Answer 15

As for Pas de Basque, except that the front foot is placed in fourth-opposite-fifth position, fourth position, fourth intermediate position and second position and there is no extension at the finish. This movement is only used in the Sword Dance.

Question 16

Balance

Answer 16

Commence with the right foot in fourth intermediate aerial position, with hips facing the front with the right shoulder slightly advanced, the arms in third position and the head in second position. Spring on to that foot displacing the supporting foot which is taken to fourth intermediate rear aerial position. Repeat contra to complete the movement and finish in the starting position. This movement occupies two beats of music.

Question 17

Shedding

Answer 17

Hop, spring or disassemble pointing the working foot simultaneously to second position. (count 1), hop taking the working foot to third rear aerial position (count 2) hop executing a round-the-leg movement with the working foot to thing rear aerial position (count ‘4’).

Question 18

Progressive Strathspey Movement

Answer 18

Beginning with the right foot in third aerial position, step on the ball with that foot along the line of travel to fourth intermediate position (count 1); close the ball of the left foot to third or fifth rear position, extending the right foot to fourth intermediate erial position (count ‘2’); spring on to the right foot along the line of travel bringing the left foot to third rear aerial position (count ‘3’1; hop RF with slight forward travel, executing a round-the-leg movement with LF to third aerial position (count 4). The head is always directed along the line of travel.
On the first two counts the body is at an angle of 45° to the line of travel with the right shoulder leading; on the third count, the body faces the line of travel; on the fourth count, the body is at an angle of 45° to the line of travel with the left shoulder leading.

Question 19

Progressive Reel Movement

Answer 19

Hop on the ball of the left foot taking the right foot to third aerial position then step on the ball with the right foot along the line of travel to fourth intermediate position (count ‘&1’); close the ball of the left foot to third or fifth rear position then step on the ball with the right foot along the line of travel (count ‘& 2’).
Note 1: During the hop the working foot may extend through fourth
intermediate aerial position prior to placing in third aerial position, the exception being, there would be no extension on the first progressive reel movement.
Note 2: The body is used as for the progressive strathspey movement beginning to change the shoulder lead on the step which precedes the hop.

Question 20

Propelled Pivot Turn

Answer 20

Danced during a Reel by two dancers, facing in opposite directions with the shoulder-lines parallel. The inner arm of each dancer is extended diagonally forward and linked with that of the partner, the outer arm being in second position, and the head turned slightly towards partner.
Note:
‘The inner arms linked’ - The inner forearms rest parallel and are in contact with each other, with the palm of the hand lightly supporting the underside of partner’s arm just above the elbow. Since this is not a grip but an aid to balance, the thumb must not encircle partner’s upper arm.
When danced turning to the right. the movement is begun by the partners moving forward with a slight spring on to the right foot whilst linking their right arms and adopting the position described above (count ‘1’); they now place the left foot on the half point in second position to allow for a slight travel of the right foot (count
‘& 2’); the turn is now continued by repeating the actions described for the count of
“& 2’ as often as required (count ‘& 3 & 4’, etc.) so that while the right foot takes the main weight of the body, the left foot acts as a propelling force to produce the turn, during which the knees must be slightly relaxed. When danced turning to the left, the movement is begun by a slight spring forward on to the left foot whilst linking left arms; the left foot then becomes the main supporting foot with the right foot providing the propelling force.

Question 21

Shake Shake Down

Answer 21

Hop, executing a shake action with the working foot in fourth intermediate aerial position, hop carrying the working foot slightly backwards to execute another shake position, hop carrying the workinsia position, then spring to displace the supporting foot which, if required is sharply extended to any open aerial position to start the next movement, or feish with an assemble prior to a quick step or a leap.
Examples for Counting ‘3 & 4’ or ‘7 & 8’
Note 1: Both shake actions mav be executed in second aerial position.
Note 2: The starting position of the working foot depends upon whether or not it has been extended to finish the hop-brush-beat-beat movement.

Question 22

Pivot Turn

Answer 22

Turning to the left: Place the right foot on half point in third crossed position (60), then pivot to the left on the balls of both feet without displacing them (61), finishing in third or fifth position with the left foot in front.
(b) Turning to the right: As above, but starting with the left foot and finishing with the right foot in front.
Note 1: The working foot may be extended to fourth intermediate aerial position
before starting the pivot turn.
Note 2: Prior to placing in third crossed position a small step backwards towards fourth intermediate rear position may be taken. There is no extension to fourth intermediate aerial position in this method.

Question 23

Shuffle

Answer 23

Starting with one foot in mid-fourth aerial position low, spring or hop and, during the elevation, extend the original supporting foot to mid-fourth aerial position low. Then, almost simultaneously on landing, brush the new working foot inwards on the half point in
multaneously on landing
third or fifth position and immediately brush it outwards to mid-fourth aerial position low.
Note 1: The inward brush is finished without the working foot losing contact with the ground and with the instep slightly relaxed to bring the heel over the instep of the supporting foot, a position referred to as ‘over the buckle’.
Note 2: Shuffles are executed without lateral or forward travel but, where
specified, a slight backward travel is used.
Note 3: If the movement preceding a series of shuffles finishes with the working foot in an aerial position other than starting aerial position given above, the first shuffle of the series may be started from there.

Question 24

Back Stepping

Answer 24

A back-step begins in third aerial or third rear aerial position. With a spring and during the elevation, the working foot slides down the back of the supporting leg whilst the new working foot slides up the front of the new supporting leg.
The working foot passes through third aerial and third rear aerial position during each
back-step
Each back-step occupies one beat of music. Back-stepping should be smooth continuous, flowing, movements. When danced in a series of four, the last back-step of each series finishes in third aerial position or third rear aerial position. Each series within a step must be consistent, with the exception of the last count in bar 8, the option being to finish in third aerial or third rear aerial position.

Question 25

Round the Leg (Single)

Answer 25

working foot is passed from third rear aerial position (56) to third aerial position (57) or vice versa. During the movement the working foot must be kept as close as possible to the supporting leg with the knee of the working leg held well back.

Question 26

Round the Leg (Double)

Answer 26

(Double): Spring onto LF taking RF to third rear aerial position, quickly execute a round-the-leg movement to third aerial position and return to third rear aerial position
Note: This may only be executed in conjunction with a hop high cut during
Bars 7 & 8 of the following
Basic Reel Steps: 2nd, 3rd (Ist Alt.), 6th (Ist Alt.), 9th Alt.
This may also be executed throughout the 16th Basic Reel Step in Last Step - High Cutting.

Question 27

Travelling Balance

Answer 27

Commence with the right foot in fourth intermediate aerial position with hips facing the front, right shoulder slightly advanced, the arms in third position and the head in second position (52).
Bring the right foot inwards to take two steps and a soft spring RF, LF, RF, travelling diagonally backwards in a line approximately 45° to the line of direction, the foot positions being fifth position (53), fourth intermediate rear position and fifth position respectively (54), extending the left foot to fourth intermediate rear aerial position simultaneously on taking the soft spring (55) (count ‘1 & 2’). The above is now repeated contra, travelling forward along the same diagonal line to finish the movement in the original starting position (52) (count ‘3 & 4’).
Note:
Throughout the movement, the upper part of the body is held erect.

Arms: The arms are taken upwards and inwards to fourth position during the backward travel then returned to. third position during the forward travel or, alternatively, during the backward travel they are circled outwards and downwards at the sides to fifth position then, during the forward travel, they are circled outwards and upwards at the sides to third position.

Question 28

High Cut Infront

Answer 28

As for high cut, but the raised foot is taken through fourth intermediate aerial position to third aerial position (51) and the re-extension is towards fourth intermediate aerial position.
Note:
High cuts in front are not performed in series and in certain specified cases (e.g. in the sixth, seventh and twelfth Seann Triubhas steps) the extensions are towards second aerial position.
Please refer to individual steps for counting

Question 29

High Cut

Answer 29

Spring, hop or disassemble and, simultaneously on landing take the working foot to third rear aerial position (48). Then (working from the knee joint only) extend the working foot towards second aerial position (49) and return it to third rear aerial position (50). During the elevation one or both legs may be extended towards second aerial position. Unless where specially designated, there is no side travel in this movement.
Note 1: Performed in series, high cutting can be described as a succession of springs from third rear aerial position to third rear aerial position, executing a high cut each time and during each elevation extending both feet towards second aerial position, although this extension of the foot from which each spring is commenced may be slight.
Note 2: If performed in a series, high cuts can be danced with or without
extensions.
Note 3: In the Sword Dance and First Basic Reel step where a series of extended high cuts are danced the high cut which is executed in conjunction with
the disassemble must be extended.
Note 4: Where a series of high cuts are executed without extensions, it is
permissible to extend a high cut which is executed in conjunction with a
disassemble.
Note 5: In the Rectens one rollowed by tach series to execute the first high cut with no extension, followed by high cuts with extension (s) exception being first setting step.
Counting:
(a) Swords and Seann Triubhas 1& 2& 3& 4&
(b) Seann Truibhas - high cut in front and balance: 1 and (and)
(c) Reel 1 & 2 & 3 & 4 & or 1 and (and)

Question 30

Low Cutting (Fling)

Answer 30

Extend RF to second aerial position low, strike the heel of the RF against the heel of the LF then sharply re-extend RF towards second aerial position low. During this movement the LF travels sideways with minimum elevation. Strike the heel of RF against the heel of LF and almost simultaneously, spring onto RF finishing with LF which is sharply extended to second aerial position low (count and a 7). This movement is also executed beginning LF.

Question 31

Shake (Fling)

Answer 31

The movement is always preceded by pointing the working foot in third or fifth
position from where it is extended to fourth intermediate aerial position using only one subsidiary movement. Thus the actual shake movement consists of two shake actions, the first finished with the working foot in fourth intermediate aerial position low and the second, with that foot arriving at fourth intermediate aerial position simultaneously on landing from the accompanying hop. Examples for counting: (including the preceding placing of the working foot). ‘I and [and] a 2’ or
‘1 [and] and a 2’

Question 32

Outwards Brush

Answer 32

The half point of the working foot lightly touches the ground in its progress from third aerial position very low through third to an open aerial position or from a rear position, through first position to fourth aerial position. When an outward brush is executed in conjunction with a spring or a hop, the working foot touches the ground almost simultaneously on landing.

Question 33

Inwards Brush

Answer 33

The half point of the working foot lightly touches the ground in its progress from an open aerial position to an accepted position (see shuffle or hop brush-beat-beat)

Question 34

Heel-and-Toe

Answer 34

Hop and simultaneously on landing place the heel of the working foot in second position. Hop and simultaneously on landing pint the working foot in third or fifth position. This occupies two beats of music.

Question 35

Hop Brush Beat Beat

Answer 35

Hop, extending the working foot to fourth intermediate aerial position if not already so placed, then quickly execute an inward brush to third aerial position low (count ‘1 and [and!’); place the working foot on the half point in third or fifth position then lightly beat the rear foot in third or fifth rear position (count ‘a 2’).
Note 1: Simultaneously on executing the beat with the rear foot on the count of ‘2’, the working foot may be extended to fourth intermediate aerial position or second aerial position according to the starting position required for the movement which is to follow.
Note 2: The brush movement may be executed directly to third aerial position low or it may pass through third or fifth position to third aerial position
low