BROUN’S REEL

December 2013          A NEWSLETTER           No. 135


Editorial


What a great night we had at Tadcaster!  It’s been a while since I’ve enjoyed a dance so much, and only partly because it was the first dance I’ve got to since the White Rose Festival back in July.


One of the things I really enjoyed was the programme, drawn up by Iain Keegan. It was really good to get such a mixture of dances popular years ago as well as recently written ones, and I wasn’t the only one to say so. Perhaps because most of the dances are or were once well-known, very few dances went wrong, and I do think that that’s an important factor in a programme that you’re dancing to a band, so that you can really enjoy the dance without worrying about the geography.


And what a great floor there is at the Riley Smith Hall! It reminds me of the floor at the Younger Hall in St. Andrews: both are well sprung and I think take much less out of your knees and feet, so that you can dance more and dance better.  The whole hall looks grand, too, its style and design adding to the sense of occasion.  Dancers can’t fail to respond to the setting and respond in the way they dance.  That sense of occasion was also reflected in the dancers’ dress; the men usually look so very smart in their kilts, but looked even better than usual in waistcoats, jackets and dress shirts. Many of the ladies were wearing long dresses, with lace and satin in evidence.


But the night was not totally perfect, although it could easily have been. Lately some of us have notice a falling-off of etiquette at dances which was particularly noticeable at Tadcaster. The convention used to be that people did not make up sets until either the band had played the introduction to the next dance or the MC had announced it, and it would be good to see a return to this. If the dancers rush quickly onto the floor, this puts pressure on the MC or the band, who may not be quite ready to begin. It also encourages the formation of sets of friends only, militating against the mingling of different groups and the encouraging of the social atmosphere we usually strive for. It’s very hard for people who have come on their own, or who only know a few people in the room, to integrate into the group, and can be very offputting.


At Tadcaster, one could feel a hum of excitement from the numbers. Unfortunately, at times the buzz continued, or even grew, when the MC was trying to recap the dances. There was no problem with the wording of the recaps – it was just sometimes hard to hear for other people in your set talking, or the next set up.  This is not a matter of etiquette in my book, but rather one of common courtesy! So yes, we can do much better.


One of the other great things about the Joint Ball was the music. Just how well did Iain Thomson and his band play!  (And this from someone who can be a bit over-critical of bands.)  They were right on form with some tremendous sets. By the end of the evening I think everyone was appreciating quite how good they were, and they did clap hard at the end.  Sometimes I wonder if the end is a little late; surely the end is not the best point to give that bit of reassuring feedback and encouragement to a band?  I thought that the first couple of sets they played were outstanding, and really helped get the Ball off to a great start. And that standard, for me, didn’t drop all evening – they continued to play so very well throughout. At times the clap for the band at the end of a dance can seem a bit perfunctory; instead of rushing off to find a partner for the next dance, let’s properly show our appreciation when the band has played a particularly fine set.


And finally, one of the great things about a dance like the Joint Ball is its sociability.  I danced with some of the York people I don’t often get to see, but also with people from my own group, and with dancers from Harrogate and Leeds and other parts of West Yorkshire, some known, some strangers. I was able to have a brief chat with them at the end of the dance; when you reckon on the number of similar social interactions going on in the room, that’s a lot of dialogues and links made, and this social side adds to that great atmosphere again.  Long may these joint balls continue!

Joyce Cochrane

KEEPING DANCING SOCIABLE?

The September issue of Broun’s Reel carried an article by Ian Hazell in which he complained of Scottish country-dance events being less than sociable and in particular, he referred to a ball in Harrogate allowing little time for chatting with friends.  Ian goes on to suggest that there was a happier, more relaxed time when fewer dances allowed social intercourse between the dances and that reverting to this would encourage more young people to our hobby.

I have to say I do not recollect this more relaxed time.  When I began dancing, a programme for a Saturday evening would usually consist of 20 or 21 dances and it was very common for people to dance every dance and to cry out for encores and extras.  There was never time for talking to friends between dances: however desirable that might have been there was simply too much enthusiasm to get back on the floor and to enjoy the wonderful music.  Dancing to live music was then the norm.

Between dances, you would be hastily refreshing your memory of the next dance using whatever crib you had.  MCs would not normally talk through the dance and we never had callers.  Talking to friends was something to be done before the band struck up the first number or at the interval.

The suggestion that more time for chat between dances might attract more young dancers – and don’t we all need them?  – is an idea I find difficult to accept and I do not know if it has been tried.  A counter proposition that I have heard is that to attract young dancers our programmes should include more “high energy” dances such as Bonnie Anne, The Duke of Perth and The Earl of Mansfield.

Spare a thought for the programme devisor who is faced with this advice and more.  The first dance of the evening should be a simple jig.  With little setting, it is easier for the dancers and for the band.  First and second halves should finish on a high.  The second half, after the interval, needs an energetic dance to call people back, or does it?  There must be a proper mix of jigs, reels and strathspeys, of two couple dances (not too many) and of three couple dances.  Include a variety of standard figures and, of course, include some old favourites and the current “top of the pops” as well as one or two more challenging dances,.  These latter appeal to the enthusiasts who dance two or three times a week: dances that may be difficult but may be merely infrequently done.

It is impossible to meet all of these demands in any programme.  In the Harrogate Saltire club we hold three events each year.  One in the autumn is a “walk through” dance that is intended to be supportive of beginners or those who dance only occasionally.  The ceilidh, on or near Burns night, has a caller and is very informal, intended for dancers and friends of dancers.  Our ball is a more formal event at which we welcome dancers from far and wide.  We will probably have 18 dances on the programme. These will have been taught at our Wednesday club evenings, to which all are welcome, but much of the programme will be familiar to any dancer who attends club evenings in Yorkshire so that, with the aid of cribs issued with the ticket, a brief reminder by the MC should allow any dancer to enjoy most of the dances and many dancers to enjoy all of them.  

Ian Brown, Harrogate


HELLO AND THANK YOU


Hello Malcolm, hello Helen, hello whole York branch!


Lend me your ears to hear my great great thank you for all you did for me.

You let me visit Scotland that was too hard for me by myself. You showed me your world, carefully put me in and pointed my attention at 'teaching points' not just at common views.


You gave me a lot of information for my studying and teaching people, information to my understanding the world of dancing. I took from you many useful ideas and common humanity things.

And of cause I can't forget your warmth and kindness.

You all were my teachers - I took a little from every one of you.


I danced easily at St. Andrews and easily passed my exams. It was a very nice work for me - to be taught.


But no one but you was the camertone [tuning fork?] which tuned me up for this work.

Thank you again and if I may be helpful for you - just let me know.


Yours,


Vladimir

Vladimir Garbuzov, Russia

MRS LINNELL, YOU’D BE WELCOME!


I know someone who keeps chickens on the Isle of Harris. He says they’re his hentourage. I told him he must be Cock of the North. On a recent holiday I danced The Sound of Harris, thinking the title referred to that bit of sea between Harris and North Uist. Not so, we were told, except indirectly; it is a dance of John Drewry’s, a 48-bar hornpipe, written for one Veronica Harris in Canada. I haven’t been able to confirm this, but apparently she had/has an unmistakably recognisable voice. It’s such a lovely dance, and the sound of the sea is generally melodious (though it can be quite loud), that I suspect it’s her fine singing voice that’s referred to...


John Drewry’s Silver Fern Reel was another of the holiday’s dances. It’s nearly as diabolical as his Where the Snowflake Reposes (a jig). Both dances are achievable first time through but there is total collapse thereafter – in fast time, anyway. We managed 8 times through the Silver Fern in strathspey time, which is why it’s not quite so diabolical as the Reposing Snowflake.


Talking of ‘interesting’ dances, I would say that our region has now mastered Father Connelly’s Jig – another John Drewry dance, of course – and it’s about time we progressed to Mrs Stuart Linnell. This is one of J Bayly’s few dances (the name is often misspelt Bayley in programmes). It’s a lively 40-bar reel that starts as a long set, becomes a cross and then a circle – and it’s no more difficult than Father C once you’ve done it a few times. In at least two of the RSCDS lists of most frequent dances it comes within the first hundred, and in the Britain-excluding-Scotland list we do all the others (except perhaps The Blue Mess Jacket) from time to time. So, is it a challenge? I can’t find any information on Mrs Linnell but she must have been an exceptional person to have such a lovely dance written for her. I put Father C and Mrs S L in the same class as Nottingham Lace: unusual, stimulating and great fun but not difficult to dance once you have the formations in your head.


The holiday I mentioned was one of a series that are a mixture of walking and dancing. Father C always appears on the last night’s dance programme. It’s been practised by the afternoon walkers that day, usually in wind and rain, in many interesting locations including the Malvern Hills, a park by the river in Matlock Bath and, most recently, on the grassland just below Beachy Head. Walking boots are no substitute for dancing shoes, but we do try to spread the word about the delights of Scottish country dancing, never mind entertaining the somewhat bemused onlookers – which I have to say were merely a few weatherproof herring gulls on the last occasion.

Veronica Wallace, York  



AGM / CONFERENCE WEEKEND 2013 SUMMARY


The weekend began with the Friday evening dance; 512 dancers enjoyed the music from Susan MacFadyen’s Band, and the programme was devised by Croydon & District Branch.


The Saturday morning class, led by Maureen Haynes with Susan MacFadyen providing the music, was much enjoyed by 143 dancers – possibly the biggest class we have had in Bell Centre! Saturday morning also saw the finale of the “Dance Music for the Future” competition, presided over by David Cunningham. Not all of the finalists could be present, but their contributions were played. David, Muriel Johnstone and George Meikle were the judges, and George announced that the winners were D.u.K.. They are based in Denmark, but were represented on the day by one of the band, Kevin Lees, who is from north-east England, and the son of Deb Lees who has taught at both Harrogate and our Day School

Congratulations to them!


Saturday Afternoon - Annual General Meeting

There were 200 delegates, representing 107 Branches.

Members were delighted that Dr Alastair MacFadyen was able to attend and chair the meeting. However, the Chairman, John Wilkinson, announced during the meeting that Dr MacFadyen would be standing down as President with effect from the end of the meeting; he paid tribute to Dr MacFadyen’s huge contribution to the RSCDS over many years.

Dr MacFadyen read a message from Her Majesty Queen Elizabeth II, who is pleased to continue as our Patron. Dr MacFadyen presented Scrolls of Honour to the following:

 Keith Bark (Toronto)

 Ruth Beattie (Glasgow)

 Irene Bennett (Membership Services Committee)

 Noeline O’Connor (New Zealand)

 

John Wilkinson also read out the Scroll of Honour citation for Ann Dix, but then sadly informed the meeting that Ann had passed away the previous day. Ann was our very first teacher at the Harrogate weekend.

The re-appointment of the Vice Presidents was approved, as were the Minutes of the Last Meeting, the adoption of the Trustees’ Annual Report & Accounts for the year to March 2013, and the appointment of Alexander Sloan CA as Auditor.


At registration delegates received a copy of the third RSCDS Annual Review for 2013; the meeting received updates from the Committee Convenors and from the Secretary/Executive Officer.

Results of elections to management posts were as follows:

Management Board Elizabeth Harry, James Stott

Education & Training Committee Helen Brown, Angela Young

Membership Services Committee Maureen Daniel, Helen McGinley

Youth Services Committee Lindsey Ibbotson, Rachel Shankland


So the branch now has Helen Russell serving on the Management Board, and Helen Brown serving on the Education and Training committee.

Motions : Delegates approved the Management Board’s motion that the basic full annual subscription should be increased by £2, to £18.00, for the membership year July 2014 – June 2015.

 

The Ball on Saturday had 523 dancers, who enjoyed the music from Alastair Wood’s Band, and a programme devised by Winnipeg Branch. The Ball was preceded by a Civic Reception, generously provided by the Perth & Kinross Council. The Provost, Liz Grant, was delighted to welcome members to Perth.


On Sunday morning, there was a brief meeting of current and new members of the Management Board and Committees, addressed by the Chairman, John Wilkinson. The Sunday morning class, led by Janet Johnson with George Meikle providing the music, was enjoyed by 123 dancers.


And last but not least, Sunday morning also saw a Youth Forum, led by Youth Services Committee Convenor Roy Bain.


 Malcolm Brown, York

DOES DRESS MATTER?


Some people will be aware that not only did I go to Russia to train Teacher candidates, but I also went on a train journey from Samara to Novosibirsk.

















Setting out for Novosibirsk by train


This was with a group of 19th century dancers who were having workshops in the various cities we visited on the way – they had their own teachers for their dances, and I taught workshops in Scottish. We had three balls, and for the balls everyone got dressed up – many of the men in uniform, and the girls in crinolines. The effect was amazing, and you can see some of the dancing in the daily diaries of the trip that the group produced which are on YouTube, starting at http://www.youtube.com/watch?v=xkgydrZUNQk.

You can also see my videos of the balls at  

http://www.youtube.com/watch?v=BnFj-QCuiFI (Samara) and http://www.youtube.com/watch?v=VHHUuOGdnds (Omsk) and

http://www.youtube.com/watch?v=ScpYQuzwymg (Novosibirsk).



If you look closely at the video they produced of the Novosibirsk ball (day 8) you will see they even had a master-class in makeup, to ensure they all looked their best!




























Dancers at the Novosibirsk Ball


Looking at these costumes reminded me of the balls we used to hold in the York Assembly Rooms about 40 years ago, when all the girls used to wear new ball gowns, and take the afternoon off to have their hair done. This was in the days when the men wore doublets with lace cuffs and jabots.


We have obviously become a lot more relaxed about what we wear for a Scottish ball, and this seems to have crept in to what to wear for class and club evenings. How many men bother to wear a kilt, and how many trousers are worn by the opposite sex? Does this matter? Ever since I obtained my first kilt I have worn them for Scottish dance events of any sort – on the rare occasion when I have been forced to dance in trousers I found it very restricting, so why people would choose to wear them for dancing I find hard to understand. Does this mean I object to women wearing trousers to dance in – well I think the dance starts and ends with the women curtseying, and to do this in trousers I think looks odd.

Are such things really important? Well look at the Russian balls and see what we have missed in terms of dressing up!


Malcolm Brown, November 2013


THISTLE SHOEMAKERS


St. Andrews Shoemakers (the successor to James Senior of St. Andrews) now produce most of their shoes abroad, but Thistle Shoes, based in Glenrothes, still produce their dance shoes in Scotland.


QUESTIONS, QUESTIONS – THE REEL OF THE 51ST DIVISION


Many people, both members and others, regularly write to Coates Crescent asking for information about various dances or music. In those cases where the answer is not readily available, the question generally finds its way to the Archivist’s in-tray. By far the largest single subject of such requests is The Reel of the 51st Division. Since the dance first became available, questions have been raised: unfortunately, we are no nearer the answers today than they were in 1942. The following article is drawn from material in the Society’s archives and includes correspondence with the devisors and those who have researched the dance together with a number of newspaper and magazine articles.


The basic facts are well known. In 1940, the 51st Highland Division, under the overall command of the French General Staff was ordered to fight a rearguard action. The Division retreated in good order but was eventually overwhelmed by superior German armoured forces and formally surrendered to General Rommel at St Valery-en-Caux on 12 June 1940.


The Division was disarmed and the men marched off to five years of imprisonment. For security reasons, the distinctive red on blue shoulder patch of the 51st Division had been replaced by the Saltire, the white on blue cross of St Andrew. One of the young officers, J E M (Jimmy) Atkinson, occupied his mind during the march across Europe by devising a dance movement to represent the new shoulder patch. Lieutenant Atkinson was not an experienced country dancer and although he worked out the formation he wanted – a variation on the opening of Scottish Reform – he could not come up with a satisfactory way of getting 1st couple to be facing their corners. Lt. Atkinson finally finished up at the PoW camp at Laufen near Salzburg. In that camp, another young officer, P J (Peter) Oliver started a Highland Dance Club, and subsequently a Reel Club, that met three times a week but they could not remember too many of the dances so they were forced to devise a few of their own. Jimmy mentioned his idea to Peter and it was agreed that the dance should finish with a circle as in Hamilton House but they still did not have a satisfactory start to the dance. Fate took a hand when it was discovered that one of the senior officers in the camp, Lt. Col T Harris Hunter had been Chairman of the Perth Branch of the then SCDS, “the ultimate authority” as one journalistic flight of fancy would have it. Col Hunter suggested the first eight bars of Lady Susan Stewart’s Reel as a model. Instructions for the new dance were eventually allowed through by the German censors (and thereby hangs another tale or three). The dance finally reached Col. Hunter’s wife who, as he put it in a letter in 1950, “took it down to her little class in Perth”. Mrs Hunter had the instructions duplicated and sold copies in aid of the Red Cross and to send supplies to the prisoners. Over £150 was raised, of which £60 went towards sending gramophones to the prisoners.


One of the most frequently questions asked is why it was changed from a dance for a five couple set to one for four couples when the Society published it. There is no doubt that this happened: the 1950 letter referred to above from Col. Hunter to ‘Jimmy’ Atkinson notes that the Society “took upon themselves to alter the formation to cast off two instead of three”. He goes on, “we in Perth stick to the original of a five set and cast off three”. However, in a letter of 17 June 1942, Miss Milligan included the instructions for the dance in a letter to Miss Mackenzie in Stirling: this already showed the change to “set and cast off down behind 2nd and 3rd couple”. One previous researcher put into words what many suspect, that the person behind the change was “perhaps Miss Milligan, knowing her ways of tidying and unifying things”. It is, of course, equally legitimate to ask a different question. Given that Lady Susan Stewart’s Reel is a standard, three couple dance in a four couple set and the first eight bars are ‘busy’ [1st couple set, cast off two places, meet below 3rd couple, lead up to the top and cast off to corners] why was it a five couple dance in the first place?


Another question is why the Society decided to go against established practice and publish a newly devised dance. There is a tradition that Queen Elizabeth, subsequently the Queen Mother, was responsible for this when she saw a demonstration of the dance and allegedly said to Miss Milligan something along the lines of: “the dance will be in your next book, of course”. Regrettably, there is not a single shred of evidence to support this theory and previous researchers have been unable to pinpoint any occasion when it might have occurred. Indeed, according to one document in the Archive, the Queen Mother was specifically asked about the story in 1980 and replied that she had no recollection of any involvement whatsoever.


Then there is the name of the dance. The original handwritten instructions are headed simply 51 Division. A tune for the dance (below) is headed The Highland Division – 51st Divisional Dance St Valery Reel, hardly the snappiest of titles. The first public performance of the dance was at Halloween 1941 in a PoW camp in Warburg in Westphalia before Major-General Victor Fortune, the 51st Division Commanding Officer. He approved the dance with the title The 51st Country Dance (Laufen Reel). The dedication in Book 13 says Gen Fortune approved the name as published by the Society. In a letter, Col. Hunter says he sent details of the devisors to the Society but “they only put it in with permission of Sir Victor Fortune – who had nothing to do with it”. A wartime note from Col. Hunter gives the name as 51st Division Reel. Letters home, however, also referred to St Valery Reel and that is the name Miss Milligan used in the instructions for the dance in her letter to Miss Mackenzie. Jimmy Shand’s Folk Dance Band did produce a recording under that name during the war, of which more later. There is some suggestion that this name was considered inappropriate as it referred to a defeat – although how a rearguard action that contributed to the success of the evacuation of Dunkirk can be considered a defeat seems strange. The fact remains that no one knows where the name as published by the Society came from.


As for the tune! Various articles on the dance over the years refer to an original tune that was lost. There is a candidate for this. In a letter to the Scotsman in January 1991, Peter Carmichael recounts being given St Valery’s Day to play for a performance of the dance by the Dunblane Townswomen’s Guild in 1947. This tune is a jig and in a subsequent letter was identified by Derek McLeod of Edinburgh as being identical with John Bain’s Sister’s Wedding in Kerr’s Third Collection. The other tune, often referred to as lost, was written by Dugald Stewart in Oflag VII: a copy of this was given to the Society in 1980 by Mike Young who unearthed it while researching the history of Col. Hunter’s Regiment. The lengthy title of this tune is given above and, it too, is a 6/8 tune. In the letter to Miss Mackenzie, Miss Milligan notes that the dance “was written to the tune The Drunken Piper but I haven’t got it and use the alternative tune for Scottish Reform in Mrs Shand’s Book” – another jig. In the standard pipe settings used by the British Army, however, The Drunken Piper is played as a 2/4 March, which would generally translate into a reel in dance terms. The only other link to a reel tune is that it was known that, in the absence of the ‘lost’ tune, it was being danced in the camps to My Love She’s but a Lassie yet. For the recording of St Valery’s Reel referred to above, Jimmy Shand chose The Victoria Hornpipe as the lead tune although he might have been expected to have access to the ‘original’. ‘Jimmy’ Atkinson was convinced that it was Mrs Hunter who was responsible for matching the tune to the dance. Indeed, he considered the dance a collective effort, writing: “I composed it, Oliver produced it, and Col. Hunter, together with Mrs Hunter, presented it … without one of us the dance would not have come about”.


The questions and the speculation continue to this day. The correspondence in the Scotsman referred to above started with an article in that newspaper about the liberties being taken with the dance by the Reelers with the introduction of the so-called Aberdeenshire version i.e. a version for “as many as will” where every third couple starts by setting and casting off two places and continue till they reach the bottom. One of the threads in the correspondence that followed confirmed that, true to tradition, no one knows who started this trend or why it is called the Aberdeenshire version. While all this speculation on who and why continues to exert a unique level of fascination for a large number of people, not only dancers, the fact remains that the dance, together with its tune – The Drunken Piper, remains as popular as ever on the dance programmes of all Scottish Country Dancers no matter what style they practice.

Jim Healy, RSCDS Honorary Archivist

[Jim is also Chairman Elect of the RSCDS]



BURNS AFTERNOON DANCE, DUNNINGTON, 18TH JANUARY


In January the Branch is holding another afternoon dance on Saturday 18th January, at the Reading Rooms in Dunnington, and will begin at 2 p.m.  After the success of last year, we are again following the dance with a Burns’ Supper of haggis, neeps and tatties (I’m told that the vegetarian haggis last year was particularly good, though I’ll be having the meat one!), and the whole afternoon is expected to finish at about 5 p.m.  There will be a short interval between the two halves. The cost for the afternoon will be £5 to all comers, to include both dance and supper.


The programme has been drawn up by Ken Wallace and Norma Wheeler, and will be danced to recorded music.


A few of these dances are less familiar, but I’m sure Rita will be able to come up with the instructions for the usual crib on the branch website!



HARROGATE WEEKEND 31st January – 2nd February 2014:

There are still three twin rooms available – please contact Helen Brown for more information if you’re interested.


BRANCH DANCE, NORTH FERRIBY, 22nd FEBRUARY


Our Branch dance in February will be held at All Saints’ Church Hall in North Ferriby on Saturday 22nd February, beginning at 7.30 p.m.  As usual for an evening dance which is to recorded music, you are asked to bring contributions to a Faith Supper; as ever, disposable plates are preferred. The price is the usual for normal branch dances to recorded music, i.e. £4 for RSCDS members and £5 for non-members.


The programme has been drawn up by Chris Hare and Lynne Brooks.



ADVANCE NOTICE – ANNUAL DANCE

The Branch’s Annual Dance will take place at Stockton on the Forest on Saturday 22nd March. Music is from Màrtainn Skene and his band – an exciting young talent.


RSCDS York & North Humberside Branch


Basic Teaching Skills Course


Where:  Dunnington Reading Room, YO19 5PW

When:  Sunday, 2 March 2014

Cost:  £10

Tutor:  Malcolm Brown

Timetable: Registration & Coffee: 10.00

  Morning Class  10.30 – 12.30

 Lunch    12.30 -    1.15

 Discussion Groups   1.15 -    2.00

 Afternoon Class    2.00 -    5.00


Please bring a packed lunch – tea & coffee will be available. There will also be a break during the afternoon for tea or coffee.


Application Form





THE BRANCH MEMORIAL EDITION


A REMINDER that Malcolm wanted to produce a book to mark the Branch’s 40th anniversary in 2015, and asked for contributions.  He put a list of possible topics in the last Broun’s Reel – from Ceilidhs and Cober Hill to Wetwang and the White Rose Festival, and all points between. Contributions should be about 300 words, but you don’t HAVE to stick to that limit!  Malcolm would love to receive contributions.



WHY I STARTED DANCING AND WHAT I GET OUT OF IT


Many years ago, when Helen was the editor of Broun’s Reel, she ran an occasional series with the above title. I wondered if there was more mileage in this, since there have been many changes of personnel/members in the branch, and most people no longer know everyone else’s stories.  I would love to receive contributions under that title!






KILTS Free to Good Home


 1. LINDSAY (Red)

 WAIST - 35-37ins (90-95cms)

  LENGTH - 23ins (59cms)


2. ANCIENT SUTHERLAND (Green)

 WAIST - 35-38ins (90-97cms)

  LENGTH - 24ins ( 60cms)


Contact-: Ian Summers  0113  2866295





FOR SALE


£25 Man’s kilt Waist 31”  Length 22”

 (basically red with overlay 4” squares of yellow check)

 (McEwans of Perth)

£5 each Sporrans (2)

£5 Belt

 2 pairs men’s ghillies

 1 pair Stockings (white)

 4 sashes


Anyone interested in any of the above items please contact:

Rosemary Robins   (01482  658254)




My apologies for the late appearance of this obituary – first because I heard very late of Trevor’s death, and secondly because unfortunately it was omitted from the last edition of Broun’s Reel. My thanks to Pat.


OBITUARY – TREVOR TILLOTSON 1933 – 2012


After being uninspired when teaching English country dancing to primary school children, Trevor spotted that a Scottish country dancing class was held at Eastfield evening school in Hull. He said that if we went for a term to learn how to do it he could teach livelier dances at school. “Learn it in a term” – now that was optimism.


However, we stayed with it and Barry Kensett eventually got us on the right lines, and Mrs. Norman gave us timing at the piano.  From that beginning a whole new social life began.


Initially came the nervous excitement of the School Open Day when the class did a dance - in front of an audience! There followed many displays at garden parties and in church halls for local events.  The highlights for our team were the home-baked teas and suppers provided by the always supportive ladies of each particular 'do'. At one such gathering for a family with fishing interests we all came home with a parcel of fish as a thank you.


Eventually Barry Kensett retired from teaching the Eastfield class and he suggested Trevor took it over. From this other classes followed. The farthest flung was at Barham School in East Hull for a time. Teaching S.C.D at Newland High evening school lasted much longer. Valerie Brown was the pianist there. The musicians who play for such classes are so valuable. They stop, and start, mid-phrase, picking up the beat probably more ably than the dancers!


My chronological memory is weak, but somewhere along the way Trevor and I joined the Reel Club in the upper room in Cottingham Civic Hall. This was dancing to "proper" music. If you went wrong the record went on without you. Doug and Una Beswick had taken on the running of the Reel Club and this was not a class but a social night. When eventually Doug was unable to carry on Trevor stepped in and arranged the Reel Club programmes.


Next came the really big development: the Branch was formed. We went to the first meeting and Trevor joined the committee. Boundaries widened and Balls were held in exotic places like Malton and Scarborough and the village hall in Dunswell. We'd take the 'eats' there in the afternoon ready for the evening (not a faith supper night!) and the place would be freezing cold.


Then borders were really crossed when Malcolm and Helen put together a party to dance in an International Dance Festival at Rodez in southern France. Trevor was in the main team and I a sort of reserve. For Trevor and myself it was a one-off trip full of interest and personal encounters. Not all of us stayed on the "Foreign Office" trail, but the Branch still has a good foreign ambassador in Malcolm.


Because my knees complained so much I had to stop dancing but Trevor danced on, and taught a class in Kirk Ella primary school. Eventually he too found the pace too much.


Just a word to anyone finding the prospect of moving away from participating on the dance floor daunting, there can be something beyond it. We got involved in Art, winding up on the committee of an Art Group, and meeting another circle of nice people. But when the music plays be warned, you'll say to yourself "I used to do that one" and just for a while will wish yourself back, stepping gaily, heel and toe...


Pat Tillotson.

[Long term member of the R.S.C.D.S. No.2622 - York & North Humberside Branch - the membership ran out on 30th September 1995! but I still have the little blue card.]



Details of some items of Highland dress from the Tillotsons, available for a small cost, are printed earlier – contact Rosemary and not Pat, please.

Interesting dances?

Sociable?

AGM Weekend

Russia

Reel 51st

Teaching Skills

Obituary,
TrevorTillotson