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52-538: A cèilidh ( / ˈ k eɪ l i / KAY -lee , Scottish Gaelic: [ˈkʲʰeːlɪ] ) or céilí ( Irish: [ˈceːlʲiː] ) is a traditional Scottish and Irish social gathering. In its most basic form, it simply means a social visit. In contemporary usage, it usually involves dancing and playing Gaelic folk music , either at a home or a larger concert at a social hall or other community gathering place. Cèilidhean (plural of cèilidh ) and céilithe (plural of céilí ) originated in

104-529: A cèilidh . Cèilidhean are common fundraising and social events for many societies at the University of Glasgow. Some cèilidh bands intersperse cèilidh dancing with a DJ playing disco music to broaden the appeal of the evening's entertainment. The resurgence in the popularity of the céilí over the last 20 years or so in Northern Ireland has been assisted in no small way by

156-402: A non-ministerial department and are usually aligned to a clan or branch of a clan; however, tartans can also be registered exclusively for an individual or institution, and many "district" or "national" patterns also exist that have no associations to particular families or organisations. Historically, weaponry formed a common accessory of men's Highland dress, such as the mattucashlass and

208-463: A checkered maud (plaid) wrapped about their upper body. The maud, woven in a pattern known variously as Border tartan , Falkirk tartan, Shepherd's check, Shepherd's plaid and Galashiels grey, became the identifying feature of Border dress as a result of the garment's mention by fashionable Border Scots such as Walter Scott , James Hogg and Henry Scott Riddell and their wearing of it in public. Together with Robert Burns , they can be seen wearing

260-542: A good understanding of the mechanics of the tunes and a deep knowledge of regional dances from the UK and beyond. They will confer with the band about what type of tune to play for the dance. This aids the selection of the right dance for the right audience. This skill is so sought after in the south of England that there are callers who are famous in their own right. However, many bands have their own caller, often also an instrumentalist; some have two. During an English ceilidh there

312-526: A knot of ribbands ." According to the English military chaplain Thomas Morer in 1689, Highland men wore plaids about seven or eight yards (6.4 to 7.3 m) long, which covered from the neck to the knees except the right arm. Beneath the plaid they wore a waistcoat or a shirt to the same length as the drape of the plaid. These were " belted plaids ." Their stockings were made of the same stuff as

364-466: A poet from London, John Taylor , described the costume of Scottish aristocrats, lairds , and their followers and servants, dressed for hunting at Braemar . In August and September, all classes dressed in the same fashion by custom, as if equals. This included tartan stockings and jerkins , with garters of twisted straw , and a finer plaid mantle round their shoulders. They had knotted handkerchiefs at their necks and wore blue caps . Taylor said

416-608: A post-modern trend in kilt-wear instigated with the 1970s and 1980s punk styles ; we see the kilt worn with chunky socks, boots, white T-shirt and black jacket". Regardless of formality level, the basis of all modern men's and women's Highland dress starts with the tartan , either as a kilt , trews , arisaid , sash , or tonnag . Tartans in Scotland are registered at the Scottish Register of Tartans in Edinburgh,

468-470: A progressive style. At the end of one whole iteration of the dance (lead around and body), instead of stopping, the groups move on to the next set of partners in the line. Céilí dances that can be performed progressively are: walls of Limerick, siege of Ennis, haymaker's jig, and fairy reel. When there is a large social gathering, there will often be a caller for the dance, though it is a very different style from square-dancing caller. A céilí caller

520-672: A regular—or at least annual—basis. The formality of these can vary. Some mix modern pop music with a Scottish country dancing band and dress codes range from compulsory highland dress to informal. Knowledge and use of the basic dance steps is not always strictly necessary, and dances often alternate with songs, poetry recitals, storytelling and other types of "party pieces". Cèilidh music may be provided by an assortment of instruments including fiddle , flute , tin whistle , accordion , bodhrán (frame-drum), hammered dulcimer , and in more recent times also drums, guitar, mandolin, bouzouki , Scottish smallpipes , and electric bass guitar. The music

572-564: A ring. These can be performed by fixed couples or in the more sociable "progressive" manner, with the lady moving to the next gentleman in the ring at or near the end of each repetition of the steps. In Ireland, the similar style of dance is called céilí dance or fíor ('true') céilí dance. Some of the dances are named after famous regiments, historical battles, and events, others after items of daily rural life. The " gay Gordons ", "siege of Ennis", "walls of Limerick", and "stack of barley" are popular dances in this genre. Step dancing

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624-569: A sub-event of a broader event, such as wedding or bar mizvah . In his book The Singing Neanderthals: The Origins of Music, Language, Mind, and Body , Steven J. Mithen writes: "In many societies today dancing is used as a form of display for attracting mate... Dancing is a means to show off one's physical fitness and co-ordination, qualities that would have been useful for survival in prehistoric hunter-gatherer societies." Mithen argues dance and music likely became an important tool of social interaction as soon as humans could walk and talk. Dances of

676-563: Is a literary entertainment where stories and tales, poems and ballads, are rehearsed and recited, and songs are sung, conundrums are put, proverbs are quoted, and many other literary matters are related and discussed The ceilidh of the Western Hebrides corresponds to the veillée of Lower Brittany  ... and to similar story-telling festivals which formerly flourished among all the Celtic peoples On long, dark winter nights it

728-619: Is also based on the clan tartan, either that of her birth clan or, if married, that of her spouse's clan if she so chooses. Traditionally, women and girls do not wear kilts but may wear ankle-length tartan skirts , along with a colour-coordinated blouse and vest. A tartan earasaid , sash or tonnag (smaller shawl) may also be worn, usually pinned with a brooch , sometimes with a clan badge or other family or cultural motif. [REDACTED] = Day (before 6 p.m.) [REDACTED] = Evening (after 6 p.m.)     = Bow tie colour [REDACTED] = Ladies [REDACTED] = Gentlemen In

780-954: Is another form of dancing often performed at céilithe , the form that was popularised in the 1990s by the Riverdance ensemble. Whereas set dancing involves all present, whatever their skill, step dancing is usually reserved for show, being performed only by the most talented of dancers. The cèilidh has been internationalised by the Scottish and Irish diasporas in Canada, the United States, Australia, and New Zealand , where local cèilidhean and traditional music competitions are held. In recent years, cèilidh and traditional music competitions have been frequently won by descendants of emigrants. It bears mention that cèilidhean are common throughout Nova Scotia. The tradition and

832-610: Is cheerful and lively, consisting in Ireland mainly of jigs, reels , hornpipes, polkas, slip-jigs, and waltzes, with Scotland adding strathspeys , and England adding regional forms such as the northeastern rant. The basic steps can be learned easily; a short instructional session is often provided for new dancers before the start of the dance itself. In Ireland, the first céilí band was put together in 1926 by Séamus Clandillon, Radio Éireann's director of music, to have dance music for his studio-based programmes. Dancing at cèilidhean

884-596: Is derived from the Old Irish céle (singular) meaning 'companion'. It later became céilidh and céilidhe , which means 'visit' in Gaelic . In Scottish Gaelic reformed spelling it is spelt cèilidh (plural cèilidhean ) and in Irish reformed spelling as céilí (plural céilithe ). Originally, a cèilidh was a social gathering of any sort, and did not necessarily involve dancing: The 'ceilidh'

936-423: Is more usual for tartans to be chosen for aesthetic reasons. A tartan full plaid , fly plaid , or short belted plaid may also be worn but usually only at very formal events or by the groom at a wedding. There are a number of accessories, which may include but are not limited to: a belt, sporran , sgian-dubh , knee-socks with a cuff known as kilt hose, garters , kilt pins and clan badges. Women's Highland dress

988-551: Is often an interval involving the talents of local Morris or rapper side; this also serves to give bands with older members a rest. It is possible to see many diverse and regionally distinct acts at a modern English ceilidh. Acts range from the most traditional, like the Old Swan Band , to the most experimental like the electronic dance music -influenced Monster Ceilidh Band. Many other forms of music have been combined with English ceilidh music including; Irish music from

1040-419: Is still the custom in small villages for friends to collect in a house and hold what they call a "ceilidh" (pronounced kay'lee). Young and old are entertained by the reciters of old poems and legendary stories which deal with ancient beliefs, the doings of traditional heroes and heroines, and so on. Some sing old and new songs set to old music or new music composed in the manner of the old. In more recent decades,

1092-532: Is the traditional, regional dress of the Highlands and Isles of Scotland . It is often characterised by tartan ( plaid in North America). Specific designs of shirt, jacket, bodice and headwear may also be worn. On rare occasions with clan badges and other devices indicating family and heritage. Men's Highland dress typically includes a kilt or trews . Although this may consist of clan tartan, it

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1144-463: Is usually in the form of cèilidh dances , set dances , or couples' dances. A "set" consists of four to eight couples, with each pair of couples facing another in a square or rectangular formation. Each couple exchanges position with the facing couple, and also facing couples exchange partners, while all the time keeping in step with the beat of the music. About half of the dances in the modern Scots cèilidh , however, are couples' dances performed in

1196-485: Is usually the teacher or most experienced dancer of the group who has the dance memorized. They then call the movements out in a non-stylized way, intended to remind those who are non-dancers when and where to move. Social céilí dances are often the easiest dances and very easy to shuffle through as a non-dancer. A caller makes sure that everyone at a social dance can participate. Embellishments are accepted and fun in social céilí dances, women adding spins or changing

1248-533: The cèilidh to a considerable extent, such events are still an important and popular social outlet in rural parts of Scotland and Ireland, especially in the Gaelic-speaking regions. Cèilidhean are sometimes held on a smaller scale in private or public houses , for example in remote rural areas and during busy festivals. It is common for some clubs and institutions such as sports clubs, schools and universities and even employers to arrange cèilidhs on

1300-573: The Gaelic areas of Scotland and Ireland and are consequently common in the Scottish and Irish diasporas . They are similar to the troyl traditions in Cornwall and twmpath and noson lawen events in Wales, merry neets in Cumbria and North East England , as well as English country dance throughout England which have in some areas undergone a fusion with céilithe. The term

1352-485: The Gaelic revival in the first quarter of the twentieth century and codified by the Irish Dancing Commission . There are about thirty dances that form the basis for examination of céilí dance teachers. Irish céilí is a participatory social event attended by both men and women and accompanied by live Irish traditional music. The dance emerged within cultural nationalist consciousness as during

1404-619: The University of Edinburgh providing a number for students throughout each term, especially the long-running Highland Annual, the oldest cèilidh in Edinburgh and the largest in Scotland, organised by the Highland Society ( An Comann Ceilteach ). Glasgow University Union's annual debating competition, Glasgow Ancients, traditionally ends the night with a cèilidh . The union's Christmas event, Daft Friday, also involves

1456-500: The aristocracy was an important courtly pastime as attested since at least the 14th century. The earliest known dance instruction books are dated by the 15th century and they described the dances of the high society . However, the earliest records of the dancing of ordinary folk date by the end of the 16th century. In 18th and 19th centuries group dances dominated ballrooms, especially the quadrille . In early 1900s dance and etiquette manuals paid attention to ceremonial details of

1508-411: The ballroom. Rules and rituals were established, including the correct ways of issuing party invitations and giving parties and balls, asking a partner to dance, appropriate conversation while dancing a quadrille, and wearing the latest ballroom fashions. A number of types of social dance events can be distinguished. Classified by the type of dance involved: Highland dress Highland dress

1560-469: The dirk . However, due to the UK's knife laws, small sgian-dubhs and sword shape kilt pins are more commonly seen today. For men's and women's shoes, dance ghillies are thin, foldable turnshoes , now used mostly for indoor wear and Scottish dancing . The sole and uppers cut from one piece of leather, wrapped around the foot from the bottom, laced at the top, and seamed at the heel and toe. Ghillie brogues are thick-soled welted-rand shoes. In both,

1612-535: The Scottish cèilidh is by no means limited to the younger generation, and dances vary in speed and complexity to accommodate most age groups and levels of ability. Most private schools in Scotland will also hold cèilidhean on a fairly regular basis. Public cèilidhean are also held, attracting paying participants, often held at dance clubs ; and the annual Ceilidh Culture festival in Edinburgh. Universities in Scotland hold regular cèilidhean , with

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1664-423: The Scottish and Irish social dance traditions. The dance figures are similar using couples' dances, square sets, long sets, and circle dances. However, the English style requires a slower tempo of tune accentuating the on-beat, the central instrument often being the English melodeon , a diatonic accordion in the keys of D and G. Dancers often use a skip, a step-hop or rant step depending on region. This contrasts with

1716-663: The Victorian era, and these styles have changed little since then (e.g. the Prince Charlie, Sheriffmuir, and regulation jackets have an antique appearance, being based on Victorian military doublets of Highland regiments ). In observing "constraints imposed by supposed rules and regulations governing ... what is perceived as permissible in Highland dress", Scottish historian Hugh Cheape writes (2012) that "uniform styles and conformity in dress conventions have emerged since

1768-401: The actual music and dancing. Novices are usually among the participants, so a "dance caller" may teach the steps before music begins for each dance. The more versatile bands will demonstrate the dances too. Scottish primary schools frequently teach some Scottish country dancing , often around Christmas time. Bands vary in size but are commonly made up of between two and six players. The appeal of

1820-540: The band Phoenix Ceilidh Band; ska from the band Whapweasel; traditional jazz from the bands Chalktown and Florida; funk fusion from Licence to Ceilidh, Ceilidhography, and Climax Ceilidh Band, rock from the bands Peeping Tom, Aardvark Ceilidh Band, Touchstone, and Tickled Pink; West African- and Indian-influenced music from the band Boka Halattraditional; traditional French music from the band Token Women; traditional Welsh music from Twm Twp; and heavy metal from Glorystrokes. Dance (event) Dance/dancing may be

1872-423: The centre a large piece of crystal , or some finer stone, and this was set all around with several finer stones of a lesser size. The plaid being pleated all round, was tied with a belt below the breast; the belt was of leather, and several pieces of silver intermixed with the leather like a chain . The lower end of the belt has a piece of plate about eight inches long, and three in breadth, curiously engraven;

1924-450: The dancing portion of the event has usurped the older meanings of the term, though the tradition of guests performing music, songs, storytelling, and poetry still persists in some areas. Céilithe / Cèilidhean were originally hosted by a fear-an-tigh (or, in contemporary Scottish Gaelic orthography, fear-an-taighe ), meaning 'man of the house'. The Scottish Gaelic feminine and gender-neutral equivalents are bean-an-taighe (woman of

1976-484: The direction they are facing is common, as are jig-step movements called the "rising step" or "grinding step". Céilí dances may be divided into figures, but a single type of tune is generally used for all the figures and the dancing does not pause between the figures. Unlike square dance and round dance , céilí dances are generally not called by a caller ; the flow of dance is defined by its name. Céilí dances when performed socially are often performed in

2028-418: The end of which was adorned with fine stones, or pieces of red coral . They wore sleeves of scarlet cloth, closed at the end as men's vests , with gold lace round them, having plate buttons with fine stones. The head dress was a fine kerchief of linen strait (tight) about the head, hanging down the back taper-wise; a large lock of hair hangs down their cheeks above their breast, the lower end tied with

2080-539: The house) and duine-an-taighe (person of the house), respectively. The use of these or similar terms is still the form in much of Ireland and Hebridean Scotland, and at gatherings elsewhere at which either Irish or Scottish Gaelic is the predominant social language. In modern events at which English predominates, the host is usually instead referred to as simply the "host" or "master of ceremonies". The cèilidh facilitated courting and prospects of marriage for young people and, although discos and nightclubs have displaced

2132-607: The interest in céilithe amongst the younger generation and bands such as Haste to the Wedding, a céilí band. Céilí dances ( / ˈ k eɪ l i / , Irish: [ˈceːlʲiː] ) or true céilí dances ( fíor céilí ) are a popular form of folk dancing in Ireland and are part of the broader Irish dances . The Irish céilí dances are based on heys ("hedges", or pairs of facing lines), round dances, long dances, and quadrilles , generally revived during

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2184-608: The laces are wrapped around and tied firmly above the wearer's ankles so that the shoes do not get pulled off in the mud. The shoes lack tongues so the wearer's feet can dry more quickly in the typically damp Scottish weather. Highland dress may also be worn as a folk-costume option at events requiring morning dress . As such, for formal day-wear use it generally consists of: Men: The traditional white-tie version of Highland dress consists of: Men: The semi-formal version of Highland dress consists of: Men: Traditionally, black-tie Highland dress comprises: Men: In 1618,

2236-521: The late 19th and early 20th century traditions promoting nationalist agendas, and national identities were regarded as not culturally unified. Irish céilí regained its popularity in the late 19th century, when Ireland made efforts to regain its cultural and political autonomy after being colonized for over 800 years. The goal of the Gaelic League established in 1893 was to promote Irish cultural independence and de- anglicisation , which involved

2288-418: The late nineteenth century and have been encoded in books and tailors' patterns; strict observance is expected and in some circles has become a touchstone of Scottishness. The perpetuation of such views, relatively recently formed, is a self-assumed role of guardians of Scottish 'ethnicity'." He contrasts this mode of regulated Highland dress with the kilt's contemporary "renaissance as a style item ... even

2340-516: The modern era, Scottish Highland dress can be worn casually, or worn as formal wear to white tie and black tie occasions, especially at ceilidhs and weddings. Just as the black tie dress code has increased in use in England for formal events which historically may have called for white tie, so too is the black tie version of Highland dress increasingly common. The codification of "proper" Highland dress for formal and semi-formal wear took place during

2392-401: The neck to the heels, and was tied before on the breast with a buckle of silver or brass, according to the quality of the person. I have seen some of the former of an hundred marks value; it was broad as any ordinary pewter plate, the whole curiously engraven with various animals etc. There was a lesser buckle which was wore in the middle of the larger, and above two ounces weight; it had in

2444-433: The plaid and their shoes were called "brocks" ( brogues ). Bonnets were blue or "sad" coloured. Morer noted that the fineness of the fabric varied according to the wealth and status of the man. Scottish Lowlanders and Borderers were dressed much like the English, except both men and women also used a plaid as a cloak . The Lowland women wrapped their plaids over their heads as hoods , whereas Lowland and Border men wore

2496-699: The remergent popularization of the Irish language, literature, and vernacular traditions, such as Irish singing and dancing. Plentiful branches of the Gaelic League giving dance, singing, music, and literature classes were established across Ireland. The style of dance employed for céilí dance differs greatly from that used for set dance , and has more the appearance associated with the style of step dance . In particular, it emphasizes height and extension, with dancers generally dancing on their toes (but not en pointe as in ballet). A movement called "side-step" or "sevens and threes" with which dancers travel sideways to

2548-426: The smoother style and more fluid motion seen in Ireland, Scotland, or (the walking) in contra. Many ceilidh dances involve a couple, but this does not limit the number of partners any one dancer has during the ceilidh. Often dancers will change partners every dance to meet new people. An important part of English ceilidhs is the "caller" who instructs the dancer in the next dance. An experienced ceilidh caller will have

2600-429: The spirit of these gatherings are carried on in most small communities of these Maritime Provinces . Privately organised cèilidhean in the 2020s are extremely common in both rural and urban Scotland, where bands are hired, usually for evening entertainment for a wedding, birthday party, celebratory or fundraising event. These may be more or less formal, and very often omit all other traditional Gaelic activity beyond

2652-465: The style of a swing based on the skill of a partner. Cèilidh in England has evolved a little differently from its counterparts elsewhere in Scotland and Ireland. English cèilidh, usually called ceilidh, without the e-grave but pronounced as it is in Scottish Gaelic, can be considered part of English country dance (and related to contra dance ). English ceilidh has many things in common with

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2704-542: The tartan was "warm stuff of diverse colours." Near the end of the seventeenth century, Martin Martin gave a description of traditional women's clothing in the Western Islands , the earasaid with its brooches and buckles . "The ancient dress wore by the women, and which is yet wore by some of the vulgar, called arisad , is a white plaid , having a few small stripes of black, blue and red; it reached from

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