By Ellen Russell Beatty
Ponder This
Ellen Russell Beatty
I recently had the pleasure of attending a performance of the 30th anniversary of Riverdance at Foxwoods Premiere Theatre.
I previously enjoyed the privilege of a Michael Flatley performance in Lord of the Dance. This was quite a few years ago, yet I still remember how this renowned choreographer and dancer simply glided like a feather across the stage. Familiar with the Riverdance story, the troupe and the music, I eagerly anticipated another occasion to enjoy a sensational event with amazingly talented dancers.
Step dancing has a long history in Ireland dating back to the 17th century. Folklore informs us of the cultural influences for keeping the upper torso rigid during Irish step dancing.
Ireland is an island in the northern Atlantic with a cold, wet climate – certainly not a warm environment for merriment and dance. The influence of the Catholic Church’s punitive view of handholding and touching contributed to the severe posture of keeping arms at the side. Long under British control, with no autonomy over their own education, religion or culture, prohibitions against singing, language and boisterous expression helped step dancing to emerge as a unique means of expression for the Irish people.
The feet create distinct rhythmic sounds with little upper body movement and quick, specific footwork techniques. Interestingly, as step dancing evolved the immovable upper torso helped add focus to the intricate footwork and difficulty of the dance.
I was not quite prepared to be so profoundly moved by the meaning of the musical score and choreography of this performance. My goal was to simply enjoy the talent and event at face value. Riverdance is truly a remarkable production.
For this occasion, I focused more on the music and the artistry, the skillful craft of the performance. My nephew, a very accomplished drummer, taught me to think of drums as an instrument that one needs to learn to listen to. Drumming skillfully adds rhythm, physicality and percussion to music. Likewise, the feet in stepping add to the rhythm and beat of the score. Each tap adds something to the total story being told. One needs to learn to listen to the precise footwork of the step dancer just as one learns to listen to drumming.
Bill Whelan, the composer of the now-famous original Riverdance musical score, “Reels Around the Sun,” provides the important backdrop to this immigration story of how the light of the sun brings on the new day.
For the first time, I heard fully the pipes, fiddle and percussion so hauntingly beautiful. I was touched by the songs and lyrics in a way I didn’t experience in my previous exposure. I was mesmerized by the powerful story weaving immigration, Irish history and historical myths. The incredible music, breathtaking choreography and background of the sound of stepping provided a moving experience. Their feet expressed their enduring merriment and joy, coupled with deep resolve and a look to the future. An irrepressible spirit was embodied in the feet, filled with purpose and renewal.
The yearning in the chant from the song, “The Heart Cry,” says, “We will not be beaten down; we will not be beaten down.” Their determined feet brought them across the world seeking liberty and respite from control by others.
I found that I was too proud to weep, especially during the music and choreography of “The Heart Cry,” a song about leaving and the deep love that stirred the Irish exodus. These are the mournful, yet defiant lyrics of a people determined to triumph over adversity. I was privy through this stellar artistic performance to the emotional, difficult journey of the Irish people, and to all refugees seeking a better world and freedom from tyranny.
I exited the theater channeling the poets, philosophers, rebels, farmers, writers, women and children who fought so hard against oppression and gave up so much in doing so. I am proud that my ancestors joined the great diaspora and helped to bring the history, dance, music and folklore abroad.
Dr. Ellen Russell Beatty served five terms on the Milford Board of Aldermen. She served seven years as Associate Vice President of Academic Affairs at Southern Connecticut State University, and also served as interim Academic Vice president, Dean of Health & Human Services and Director of Faculty Development. In addition to the broad perspective and a multitude of skills required of high-level administrators, her areas of special expertise lie in strategic planning, accreditation, assessment and planning and budgetary allocation.