Unfortunately, the origins of Highland Dancing are shrouded in antiquity, legend–and even the mists of the mountains. Little academic research has been undertaken into this beautiful and important art form in part, because very little was recorded, as Highland culture was largely an oral culture, with song and traditions passed down by word of mouth, and part because dance masters passed their steps down to young protégées. Consequently, steps and dances took on the regional character of the diverse and magnificent regions.
In previous centuries, Scottish regiments used Highland Dancing as exercise to keep the troops in shape, and ready for battle. The dances are indeed excellent exercise; for example, in a typical six-step Highland Fling, a dancer will jump vertically 192 times, while performing complicated and intricate footwork, and using the muscles from head to toe. Highland dancing is therefore akin to sprinting, with dancers using fast-twitch muscle, which is also required by soldiers.
Today, Highland Dancing is one of the premiere events at Highland Games throughout the world; for example, in Canada, Japan, Scotland, South Africa, and the United States of America. Until the early 1900’s, only men entered Highland Dancing competitions. However, the tradition changed during the World Wars, as women wanted to preserve their rich culture and history, while the men were defending their homeland.
Competitive female dancers now outnumber male dancers by about one hundred to one, although the dancing community is always eager to welcome more men, for their strength is very much celebrated.
In order to be a successful competitive dancer, students require many hours of practice and training over a period of numerous years, as Highland dancing has much in common with ballet in terms of its technique. Students also require mastery of the four basic Highland dances, namely, the Highland Fling, the Sword Dance, Seann Truibhas (pronounced shawn trewes), and the reelall of which are performed in the traditional kilt.
History informs us that the oldest of the dances is the Gillie Callum or Sword Dance, which dates from as far back as 1054 and owes its origin to a bloody duel during which Malcolm Canmore, the Celtic Prince, slew one of Macbeth’s chiefs. Taking his victim’s claymore and crossing it with his own on the ground, so making the Sign of the Cross, Malcolm Canmore danced over and around the naked blades with the ecstasy of victory. It was also supposed to have been danced before a battle and, if the dancer completed the dance without touching the swords with his feet, the omens were auspicious! This explanation is more plausible, as the chief art of today’s exponents consists in the dexterity with which the dancer escapes touching one or more of the crossed swords.
The Shean Truibhais (Gaelic for torn trousers) originated after the failure of the 1745 Jacobite Uprising when, as part of a campaign to repress Scottish Nationalism, the wearing of the kilt was forbidden. The Shean Truibhais was performed in trews, which were so unpopular throughout the Highlands that many of the movements and steps in this most elegant dance illustrate the dancers’ disapproval at having to wear “trousers” instead of their beloved kilt and his subsequent attempts to kick them off. The quick steps are a display of pleasure in their abolition some years later.
Prominent among the other Highland Dances is the Highland Fling. Although no definite date has been established for its inception it is considered to emanate from around the late 18th century. Legend claims that the dance derived from an old shepherd who was sitting on the side of a hill giving his grandson bagpipe lessons on the chanter. Witnessing a stag pirouetting a short distance away the old man asked the youngster if he could attempt to imitate the noble animal. The lad tried and succeeded – hence the steps and the graceful curve of the arms and hands, depicting the stag’s antlers combined in the human body. Another tale states that it was originally danced on a Targe or Shield – this presumably accounts for the precise stepping on the one spot!
The Reel of Tulloch originated within the four walls of a church in the wee village of Tullich near Ballater in Aberdeenshire in quite a different manner. On a cold and wintry Sunday morning the congregation awaited the arrival of the minister who, through no fault of his own, was late for the service. In order to keep themselves warm, the kirk members began to dance with each other and swing themselves by the arms. Little did they realise that they were laying down the foundation movements for the popular dance we know today as the Reel of Tulloch, whose version today shows the same character and spirit of that bygone age.
Many of the steps connected with Highland Dancing came originally from the French courts, possibly through the influence of Mary, Queen of Scots and the gentlemen of Scotland who served in the bodyguard of the King of France.