Amazing Grace, in Cape Breton

Amazing Grace, in Cape Breton

Scotland has many dance forms but perhaps one of the least well known is Scottish Step Dance - an authentic indigenous dance of Scottish and Gaelic culture.  This percussive artform, using precise close to the floor footwork, was at one point extremely popular throughout all Scotland, particulalrly the Highlands and Islands, but became gradually less favourable since the times of the Highland Clearances.

In the 19th century, some 70,000 people were forced off their own lands in Scotland, flung across to different shores worldwide and in those tough times, had to find a new life and new places to settle.  One of those places was Cape Breton Island, on the east coast of Canada. Setting up camps in exceptionally harsh conditions and distant from home, like most people who live in types of exile, these folks held onto their heritage and cultural roots tightly. Two hundred years later that close connection to culture is alive and kicking, and celebrated enthusiastically by many communities in Cape Breton.

Having trained intermittently in Scotland with a range of differing approaches, I felt the urge to go to Mabou, on Cape Breton’s west coast, to discover ‘the reel deal’ - these artistic roots of ours, in a place where the music and dance are still deeply embedded in the community, shaping the life and social events across the Island.

Over 3 weeks I was immersed in the music, dance, culture and community of, and with, the islanders. I was invited to meet and live with some of the most prolific artistic figures of Scottish/Cape Breton traditional dance and music. Every day was a school day, researching with Jenny MacKenzie (Co-Director of A Timeless Art) and her husband Kenneth, participating and learning with Melody Cameron and the local tutors at her week intensive, and travelling the island to the evening social square dances that are held every single day/eve.  I was invited to house parties and other events where you realise it becomes a bit odd if there isn’t someone somewhere playing fiddle or getting up for a dance.

There are a lot of differences between what is taught in terms of Step Dance in Scotland and what I learned in Cape Breton… it was almost like having to start again.  In fact, I have started again - firstly by looking at what to keep in my repertoire from things already learned, secondly by ‘unlearning’ and moving forward from past experiences and finally, building my knowledge base and physical practice from information gifted by Frank McConnell (earlier this year) and those I encountered and worked with during my time in Mabou.

Thankfully, The trip and experience allowed me to unwrap and discover what was missing from my learning.  What I gained was a direct insight into the true aesthetic and illuminating physicality and musicality of the style.  Witnessing a clear technique, form and foundations to how Cape Breton Step Dance is executed and its format of a structured improvisation, informs and allows the dancers to perform in an explosive, exciting and mesmerising manner.  

On Cape Breton Island, it’s easy to become a Cape Breton Step Dance and Square Dance junkie, simply because it’s just exhilarating to be around, to watch, to dance and to be a part of. 

Also, I’m not one for idols in life, but meeting and chatting with Mary Janet MacDonald was a momentous occasion in my career.  Mary Janet is known for discovering the connection between Cape Breton Step Dance originating in Scotland and for being one of the most celebrated dancers of her time in Mabou and beyond. 

I had the opportunity to sit with Mary Janet in her home and discuss my experiences to date, followed by conversation and an opportunity to have my questions answered.  Discussing my past work and current research with Mary Janet was exceptionally validating and I left with a bundle of gifted and on-loan research materials coupled with a sack of encouragement. 

With Cape Breton Step Dance technically being so closely linked to the Scottish Step Dance revival… and with folks like Mary Janet MacDonald and the subsequent continued research and artists of A Timeless Art, if you ever really want to know, you really need to go to experience it, with the people and in the place where it remains a living culture and art form. 

So, like the song Amazing Grace - “I once was lost, but now I’m found”, this experience has been a true eye opener to not only how trad arts can thrive in rural areas and have an international presence, but how the arts can hold a community together, how communities can thrive through art and culture, how traditions can be maintained and yet evolve without losing their foundation, form and roots.  

Part of my research under the banner of Creative Scotland’s Go See Share funding was to visit rural areas where folks live, work, eat,  sleep and contribute to the community through the traditional arts.  Not only to experience how the trad arts thrive there, but to live it myself for a short time and to decipher how this relates to my own practice and plans for Slanjayvah Danza and our immediate community.  It made perfect sense to go there, to really discover this art form first hand and gain  sound knowledge and develop a solid practice and method for how I will use it within my artistic work moving forward.  I have a lot of work to do, to try to achieve anything close to the skills of the Cape Breton Step Dancers and then be able to teach it with a stamp of approval…. but it’s a great challenge and yet so humbling to have support from across the globe. 

With thanks to Scottish Step Dancer extraordinaire - Frank McConnell and musician Hamish Moore for the encouragement, to all of those in Mabou, specifically the MacKenzie family and to Creative Scotland for supporting my research and learning - all which will be put to fine use this coming year.