Irish Dance

In Ireland, choreographic work in traditional step dancing exists on many
levels: amateur to professional and within diverse cultural systems and contexts. These systems and contexts support particular communities of practice, which influence and shape choreographers’ choreographic work and the meanings that these dances/works embody and express. In this paper, I select and examine different Irish traditional step dancing communities of practice and their respective aesthetic systems. In so doing, I explore how choreographers situate their work within and around these systems of cultural practice. Located within specific ideological discourses and epistemologies, I contend that today, choreographers of traditional step dancing either conform to, or challenge, the boundaries of discourses associated with the respective aesthetic systems of these practices. The paper focuses on group dancing and not solo step dancing.

Irish dance is amongst Ireland’s most successful cultural exports, with current figures showing over 10,000 qualified Irish dancing teachers operating in thousands of schools in over 30 countries internationally. The decades since Riverdance, the critically acclaimed Irish music and dance stage show, have seen monumental developments in the complexity of Irish dance. This has precipitated markedly increased injury incidence, comparable to that in ballet and contemporary dance [Ref 1-4]. The biopsychosocial benefits of dancing have long been established, across genres and in both elite and nonelite cohorts. However, levels of pain and injury can be significant in elite dancers. Studies in Irish dance have recorded injury rates of 82.1% in adult elite cohorts over the previous year which compares to rates investigated Irish professional, elite and student Irish dancers across the lifespan. Former lead dancer with Riverdance, she is a physiotherapist and experienced Irish dance clinici...

There is little doubt that dance, in general, is an activity more typically associated with the feminine gender. Certainly, the 2019 #BoysDanceToo movement attests to the global predominance of female dance practitioners across numerous styles in its call for recognition that dance can be studied and enjoyed equally by males. The same situation, of a primarily female community of dancers, currently exists for Irish dance but its history is fascinating because, over the space of only a few decades in the early twentieth century, the participant cohort changed from being almost exclusively masculine to one that is predominantly feminine. 1 This chapter concerns some of the girls and women in Australia who have been, and still are, Irish dance practitioners, teachers and adjudicators. From Men to Women Dance scholars in Ireland have written about the roving 'dance masters' of the nineteenth century, who moved from village to village teaching Irish dance to willing students. 2 The attitude of these male teachers towards the gender balance in their classes varied considerably. Some taught the same steps to all students, some chose to teach different steps to girls, and some refused to teach girls at all. 3 Yet, around the turn of the twentieth century, the gender balance altered radically, and Irish dancing became the province of women and girls, leaving a much smaller percentage of male practitioners. [p 153] This gender shift took place quite rapidly, with several factors influencing the transformation. First of all, this change reflected the generally accepted ideas about dance at that time in the Western world. Eminent English dance scholar Theresa Buckland records that at the end of the Victorian era, dance (in general) was considered to be more suitable for women and children than for adult males. 4 Instead, men were encouraged towards various sporting pursuits. Additional influences, especially those relating specifically to Ireland, have been discussed by several writers who agree that the demarcation of gender roles, encouraged by the Gaelic League (Conradh na Gaeilge) in the cause of Irish nationalism, appears to be pivotal. Sarah Churchill writes that there was an interest in cultural education for Irish children among members of the various nationalist organisations in Ireland. For example, she records that 'Inghinidhe na h´Éireann, or the Daughters of Erin, also included Irish dancing in its agenda for girls' cultural education, as did the United Irishwomen and the Cumann na mBan'. 5 Barbara O'Connor offers further observations about gender-based social changes in Ireland in the early twentieth century. She points out that there were 'strenuous efforts within cultural nationalism to establish a pronounced demarcation of male and female roles and activities'. 6 The Gaelic Athletic Association was formed with the intention of 'getting Irishmen involved

Body is part of science kinesiology which has the function to process flexibility, stamina and agility in moving. This article aims to link the body to the process of dancing as a skill in moving. The method used is the literature review and the results of this article prove that the body has a significant relationship to dancing skills. Therefore, in the dance study the body exercises are carried out first, so that they can display aesthetically, dance and dynamic. Keywords—kinesthetic; body; flexibility; skills; motion; dancing

While connecting individual ethnic practices with global identity projects remains challenging, ethnic organizations provide a possible place where the negotiation and enactment of both occur. This article investigates how organized performances and competitions of symbolic white ethnic identity become structurally similar at a global level while also at the same time integrating disruptions at the local level. Specifically, the author argues that a hierarchy of particular Irish step dance practices emerged through controlled disruptions within and among dance academies and regulatory organizations in the social field of Irish step dance, sanctioning modified forms of Irishness believed to be most competitive in Ireland. This article examines the role that organizations play in sanctioning world models and controlling disruptions in the everyday symbolic enactment of Irish identity.

In this paper, we produce a fashion show in which a dress is transformed over time, with a storyline of a robot that experiences some emotional changes after falling in love, sheds a symbolic teardrop and at the end becomes a lovely woman. This transformability, which cannot be done in a real fashion show, could open the potential for a new kind of creativity in the fashion industry

Beautiful Miao Embroidery is an Important Part of Miao People's Traditional Culture. It Contains Rich National Cultural Connotation and Records the Historical Development of Miao Nationality. It is Famous for “the History of Miao Nationality”. Miao Village's Clothing Has Won This Reputation, Which is Inseparable from Its Technology and Methods of Inheriting Its Characteristics. Taking the Beautiful Dress of Huangjiang Village, Shangzhan City, Fenghuang County as an Example, This Paper Discusses the Inheritance Method and Characteristics of Miao Dress.

In this paper, we produce a fashion show in which a dress is transformed over time, with a storyline of a robot that experiences some emotional changes after falling in love, sheds a symbolic teardrop and at the end becomes a lovely woman. This transformability, which cannot be done in a real fashion show, could open the potential for a new kind of creativity in the fashion industry.

De-Anglicization of the Irish Harp I would earnestly appeal to every one, whether unionist or nationalist, who wishes to see the Irish nation produce its best-and surely whatever our politics are, we all wish that-to set his face against this constant running to England for our books, literature, music, games, fashions, and ideas. I appeal to every one, whatever his politics-for this is no political matter-to do his best to help the Irish race to develop in future upon Irish lines, even at the risk of encouraging national aspirations, because upon Irish lines alone can the Irish race once more become what it was of yore-one of the most original, artistic, literary, and charming peoples of Europe. 1

In this paper, we produce a fashion show in which a dress is transformed over time, with a storyline of a robot that experiences some emotional changes after falling in love, sheds a symbolic teardrop and at the end becomes a lovely woman. This transformability, which cannot be done in a real fashion show, could open the potential for a new kind of creativity in the fashion industry.

This paper examines the errors and successes of the historical costuming in 4 Hollywood films ranging from the 1930s to the early 2000s, and their closeness to actual historical clothing. The focus is upon the clothing of Elizabeth I of England as she is portrayed in film.
This paper was submitted as part of my graduate studies in Historical Costuming at SUNY/Empire State College.

In the name of Allah, the most Merciful, the most Gracious. All praise is due to Allah (swt) and Allah's Peace and Blessings on the last and final Messenger (saws), His Pure Family and Noble Companions. First and foremost, I would like to thank my family for allowing me to pursue this path, above all my parents who always listen and counsel. I want to express my gratitude to both VCU campuses for enabling me to participate in the program. I am grateful to the VCUQ MFA faculty and staff for their support and guidance. I want to thank the Fashion Department for all of the help they have provided throughout the two years, chiefly Mrs. Wilkins and AbdulCadir. I am indebted to my advising committee for all of their mentoring, advice, contributions, and tireless assistance, especially Diane Derr for her dedication and encouragement. To all of my friends who provided a home away from home, I can't thank you enough. Finally, to the best, most amazing group of fellow students, you all made every minute of this journey truly spectacular.

The cultural construction of Irish step dance embodies diverse performative meanings: meanings which are shared by different communities of step dancers. From informal, improvisatory performances to formal, stylised and highly structured performances, step dance adapts, is adapted and appropriated to give meaning and kinaesthetic expression to both the individual step dancer and the group within these diverse dance communities. In this paper I look at notions of conceptual and aesthetic boundaries in Irish competitive step dance and at how step dancers attempt at negotiating these boundaries. In particular, the paper focuses on one

For over a hundred years the Irish céilí, as an ‘invented’ social dance event and mode of interaction, has played a significant and changing role. This paper examines the invention of this Irish dance event and how it has developed in Ireland throughout the twentieth century. From the Gaelic League's cultural nationalist, ideological agenda of the late nineteenth century, for a culturally unified Ireland, to the manifestation of a new cultural confidence in Ireland, from the 1970s, this paper explores how the céilí has provided an important site for the construction, experiencing and negotiation of different senses of community and identity.

The spectacular popularity of Riverdance in 1994, in Ireland and abroad, prompted critical reflection on notions of cultural authenticity, ethnicity, and identity. The attention focused on step dance led to increased discussions of national characteristics. This essay argues that the perceptions of Irish step dance, at first local, then nationalized and globally exported, reflect larger issues of relevance to the Irish state. Although these perceptions have influenced the development of Irish step dance locally, nationally, and globally, the dance practices themselves have assisted in molding and maintaining these same perceptions. I will illustrate how the commodification of Irish step dance practice, particularly during the past five years, has acted as a major catalyst for the emergence of marginal dance practices and has reenergized the Irish step dance tradition.1 Throughout this essay, I use the expression "marginal dance practice" to contrast with competition dance culture, which I interpret as the mainstream, accepted canon. Although no one grand theory of globalization exists, considerable thinking on the subject has emerged over the past several decades among theorists from both the humanities and the social sciences. The term "globalization" appeared in the mid-1980s to replace others such as "internationalization" and "transnationalization" as a description for our ever shrinking world and the perceived process of "cultural homogenization on a global scale" (Hoogvelt 1997, 114; King 1991, viii). Different paradigms exist in the literature and, for the most part, they fall within two areas: international relations and world-system-theory. Those theorists writing from the perspective of international relations examine the development of the nation-state and its subsequent worldwide spread through increased patterns of interdependence among states. Generally speaking, these theorists claim that these states, with their European origins, initially emerged as separate entities with almost complete administrative control within their own boundaries; as they matured and engaged with each other in the international arena, a "global-nation-state system" developed, marking a movement toward "one world" (Giddens 1990, 66). The second theoretical area, that of world-system theory, particularly associated with Immanuel Wallerstein, focuses on capitalism as a fundamental globalizing influence based on economic rather than political power. This theory has

This dissertation seeks to examine and deconstruct contemporary rape culture. It explores, and builds on, the three preceding waves of the feminist movement, and contextualises established theories of hegemonic masculinity. It defines and explores what a 'rape culture' is in present times, and discusses how this culture has grown to infiltrate many aspects of society today. The thesis argues that we are currently in the fourth wave of the feminist movement, and it uses the lens of fourth wave feminist theory to interrogate the performance of contemporary rape culture. The thesis explores four main types of performance in a bid to highlight the ways in which this rape culture impacts on society as a whole. The first chapter looks at the performativity of language for women affected by sexual violence; focusing especially on the use of the words 'victim' or 'survivor' when describing a woman who has experienced such violence. It explores the performance and per...

This study is devoted to the analysis of the foundations of the development and preservation of the national
costume from the moment it appeared with justified exceptional characteristics and further modification due to its
relationship with various factors and its use in modern times. The effects of geographical, natural, historical, cultural,
economic and social factors are considered. The dynamics of the development of the Tatar national costume is revealed
from the point of view of decorative and applied folk art. Also, the potential of folk art in the aspect of enriching
professional design and identifying new popular solutions in the design of clothing is revealed. Examples of the appeal of
fashion designers to the cultural heritage of their ancestors are given. The article focuses on the national costume in
contemporary art. We ask what the modern clothes of the Tatars are and whether there is a national trait inherent in the
people and reflected in Tatars’ appearance. First of all, we need to consider that clothes are divided into everyday and
festive looks. And one cannot but take into account such a vivid translator of national culture as a stage or theater
costume. In addition, when narrating about the trends of modern Tatar fashion, one must take into account the following
aspect: general Muslim and national Tatar trends in style, which is especially pronounced in women's clothing

The roots and routes of Irish step dancing: issues of identity and participation in a global world! CATHERINE E. FOLEY Within our modern twenty-first century world we may take the time to ask ourselves to what extent is knowledge, or an understanding, of our roots important to us? Is this word roots something that is perceived to be tied up with a nostalgia for a romanticised pastor is itsomething that enhances our knowledge and understanding of who Wl' are, where we are, and how we are as we are now? Is it, in effect, important to our modern sense of identity? This paper addresses these questions in relation to one specific cultural practice, namely, step dancing, within one specific pedagogical context, the MA Irish Traditional Dance Performance programme, at the Irish World Academy of Music and Dance, University of Limerick, Ireland. In August, 1967, when the anthropologist, Margaret Mead, was leaving the island of Manus in Samoa-one of her fieldwork sites, for the last time-she urged the people that when bringing new customs to the island, not to forget their Jncestors, history, and old trJditions. She stated that if they forgot these, they would have no ground beneath their feet or roots in the ground. They would belong only to the present Jnd have no idea of their past. This statement was made in response to changes that Margaret Mead observed and experienced on the island of Manus since her previous visit. In the interim the island had hosted two million American troops for operations in the Pacific after the war, which had influenced the island's cultural life. The islanders were now also going away to be educated, listening to American popular music, smoking cigarettes, and so on. 2 This is an example of how physical contact between cultures can bring about change and today, in Our modern global world, contact between cultures and people is either physical contact through travel, economic migration, education, business, tourism, war, and so on, or technological contact through the World Wide Web, YouTube, and social networking. Today, we experience what Giddens refers to as 'the intensification of worldwide social relations'.} We live in a global world culture, which according to ffannerz:

Irish traditional dance in the New York metropolitan region is really the story of an artistic collaboration, or perhaps a better word is cross-pollination, between the Irish in Ireland and the Irish in America. It also is a relatively recent, mid-twentieth century phenomenon that only began with the rise of cheap and frequent air transportation that enabled the Irish to easily travel to and from this country and the simultaneous commercialization and popularization of folk music in both Ireland and the U.S. There has always been an Irish presence in our American popular culture at large-one only has to look at the influence of the Scotch Irish on the development of folk music and dance in this country. Country music, for example, is an offshoot of traditional Scotch Irish ballads and tunes and clogging is really a form of step dancing that was done in Appalachia. It is also true that in our region, Irish-American singers and musicians have had an enormous impact on popular culture. They performed to great success in the music and dance halls in New York from the late nineteenth century until the early 1930s. But the music they were performing was a pastiche of different musical genres, just as the dancing was-waltzes, jigs and popular tunes. As Linda Dowling Almeida observed in an earlier chapter over 70,000 Irish immigrated to the United States between 1945 and 1961, many of them settling in our region. 1 It was only after their arrival that the three forms of Irish traditional dance now performed in our region, ceili, set and step dancing, really began to take on their current shape.

This paper investigates costume fashion design of a specific Iranian group, specifically Baluch people. In this study, we have conducted a research to make an appropriated and functional association between modern daily fashion and Iranian local regional clothes as a social and cultural identity characteristic. There are some textile manufacturing industries in Iran, in which about 400,000 employees are working in different branches of production. Baluch's history indicates that their traditional costume has been derived from Iranian fundamental designs. Baluch culture has long been settled in the East of Iran. Baluch people are among the few Iranian tribes who are committed to their local costumes. This study is a cross-sectional survey in which 100 volunteers filled out the 7-scale questionnaires throughout some social networks among Iranian adult women (Age: 30±0.5). We also gathered some information based on the literature review, observation and museums and exhibitions of handicrafts visits. In this study, we focused on Baluch ethnic costumes, and we studied some articles in this field to develop a practical method in observing and assessing the sample costumers. Our data analysis indicates that 32% of volunteers partially agree that they have tendencies to pick fashionable clothing, 34% of volunteers agree that they prefer to be unique, 33% of volunteers partially agree that the national identity is important when it comes to fashion, and 28% of them partially agree about the importance of local origin of fashion. These results also express that 36% of volunteers partially agree that the traditional Iranian costume is appealing to them, and 33% of them partially agree that traditional costumes are usable as contemporary clothing. Per foregoing features of Baluch costumes in aesthetic, social and cultural context, and obtained results and relevant statistical analysis, it seems that Baluch costumes aesthetical identity can be applied in contemporary Iranian women's clothing, considering fashion principles. Last but not least, design process is based on questionnaire results and the traditional Baluch costume analysis. Our findings show that the importance of considering some criteria during design process, such as national identity, tendency to wear local and colorful costumes, applying traditional handcrafts and motifs on contemporary clothing, uniqueness and elegance. The presented design is recommended based on the deduced results of previous phases.

The costume design for the Hill Cumorah Pageant reflects a strong understanding of the physical and artistic needs of the production as well as a good grasp of the historical setting of the Book of Mormon. Through a rich blending of theatrical techniques, the pageant dramatically re-creates scriptural episodes to underscore the wisdom of human agency based on moral choice—a message made poignantly relevant by the historical realism conveyed in large part by authentic costuming. This article explores the physical challenges of creating costumes for an outdoor drama and the historical research that influences the costume construction while staying true to the message of the script. Title

The article attempts to discuss icons, such as prom oti nal films, music and dancing shows, Irish-themed pubs and Celtic symbols in all fo rms of souvenirs, meant to represent Irish identity abroad, especially in the US, where many de scendants still feel nostalgic about their origin. Issues of authenticity, commodification and tourist practices and ethnicity will be tackled in relation to these iconic images.

One of the seeds for the formation of this panel is of recent origin. Blim (1992) hypothesized the structure of the emerging "global factory" in five dimensions. Taken together they seriously challenge our division of contemporary textiles and apparel into separate categories of hand made traditional textiles and industrially made fashions. 1

THE LADIES OF THE Netherfield party are described on their arrival at the assembly in Meryton as having "an air of decided fashion" (PP 10): apparently everyone present recognizes something that distinguishes them from the local ladies. But what does that phrase mean? How does their appearance differ from that of the Bennets, Lucases, and other residents of that small market-town community? This cryptic phrase, when deciphered, gives us a glimpse into the dynamics of early nineteenth-century fashion and its nuances as followed by women of different ranks and budgets. We can at least guess that Miss Bingley and Mrs. Hurst nee Bingley are wearing the latest London modes. This hypothesis begs two questions: are the Merytonites lagging significantly behind in the latest fashions? And are the Londoners' clothes more sophisticated and complicated in cut, requiring skills beyond a small-town dressmaker? Or is there something else that is lost in translation between London and...

This paper investigates costume fashion design of a specific Iranian group, specifically Baluch people. In this study, we have conducted a research to make an appropriated and functional association between modern daily fashion and Iranian local regional clothes as a social and cultural identity characteristic. There are some textile manufacturing industries in Iran, in which about 400,000 employees are working in different branches of production. Baluch's history indicates that their traditional costume has been derived from Iranian fundamental designs. Baluch culture has long been settled in the East of Iran. Baluch people are among the few Iranian tribes who are committed to their local costumes. This study is a cross-sectional survey in which 100 volunteers filled out the 7-scale questionnaires throughout some social networks among Iranian adult women (Age: 30±0.5). We also gathered some information based on the literature review, observation and museums and exhibitions of handicrafts visits. In this study, we focused on Baluch ethnic costumes, and we studied some articles in this field to develop a practical method in observing and assessing the sample costumers. Our data analysis indicates that 32% of volunteers partially agree that they have tendencies to pick fashionable clothing, 34% of volunteers agree that they prefer to be unique, 33% of volunteers partially agree that the national identity is important when it comes to fashion, and 28% of them partially agree about the importance of local origin of fashion. These results also express that 36% of volunteers partially agree that the traditional Iranian costume is appealing to them, and 33% of them partially agree that traditional costumes are usable as contemporary clothing. Per foregoing features of Baluch costumes in aesthetic, social and cultural context, and obtained results and relevant statistical analysis, it seems that Baluch costumes aesthetical identity can be applied in contemporary Iranian women's clothing, considering fashion principles. Last but not least, design process is based on questionnaire results and the traditional Baluch costume analysis. Our findings show that the importance of considering some criteria during design process, such as national identity, tendency to wear local and colorful costumes, applying traditional handcrafts and motifs on contemporary clothing, uniqueness and elegance. The presented design is recommended based on the deduced results of previous phases.

Irish traditional dance in the New York metropolitan region is really the story of an artistic collaboration, or perhaps a better word is cross-pollination, between the Irish in Ireland and the Irish in America. It also is a relatively recent, mid-twentieth century phenomenon that only began with the rise of cheap and frequent air transportation that enabled the Irish to easily travel to and from this country and the simultaneous commercialization and popularization of folk music in both Ireland and the U.S. There has always been an Irish presence in our American popular culture at large-one only has to look at the influence of the Scotch Irish on the development of folk music and dance in this country. Country music, for example, is an offshoot of traditional Scotch Irish ballads and tunes and clogging is really a form of step dancing that was done in Appalachia. It is also true that in our region, Irish-American singers and musicians have had an enormous impact on popular culture. They performed to great success in the music and dance halls in New York from the late nineteenth century until the early 1930s. But the music they were performing was a pastiche of different musical genres, just as the dancing was-waltzes, jigs and popular tunes. As Linda Dowling Almeida observed in an earlier chapter over 70,000 Irish immigrated to the United States between 1945 and 1961, many of them settling in our region. 1 It was only after their arrival that the three forms of Irish traditional dance now performed in our region, ceili, set and step dancing, really began to take on their current shape.

Kostum tradisional telah menduduki tempat yang terkenal di dunia, merentasi kawasan geografi dan keadaan iklim, sejak zaman purba. Walau bagaimanapun, terdapat kebimbangan dari pertindihan pakaian moden yang membawa kepada kepupusan pakaian tradisional. Di Yemen, banyak pakaian tradisional sudah hilang. Ini adalah penyataan masalah dalam kajian ini kerana kurangnya kajian dalam bidang pakaian tradisional dan perang di Yaman. Pemeliharaan, kebangkitan semula, dan kajian pakaian tradisional adalah perlu untuk memberikan panduan kepada ketukangan yang baik di Yaman. Kajian ini direka bentuk untuk merawat kostum tradisional di banyak tempat di Yemen. Kajian ini mengambil pendekatan kualitatif dengan pergi ke lapangan, membuat wawancara dan menghubungi orang lama untuk mengumpulkan maklumat mengenai pakaian tradisional dalam bentuk gambar di banyak tempat di Yemen dan menyusun koleksi foto ini menjadi inspirasi untuk generasi dan pereka fesyen masa depan.   Traditional costumes have occu...

Irish traditional dance in the New York metropolitan region is really the story of an artistic collaboration, or perhaps a better word is cross-pollination, between the Irish in Ireland and the Irish in America. It also is a relatively recent, mid-twentieth century phenomenon that only began with the rise of cheap and frequent air transportation that enabled the Irish to easily travel to and from this country and the simultaneous commercialization and popularization of folk music in both Ireland and the U.S. There has always been an Irish presence in our American popular culture at large-one only has to look at the influence of the Scotch Irish on the development of folk music and dance in this country. Country music, for example, is an offshoot of traditional Scotch Irish ballads and tunes and clogging is really a form of step dancing that was done in Appalachia. It is also true that in our region, Irish-American singers and musicians have had an enormous impact on popular culture. They performed to great success in the music and dance halls in New York from the late nineteenth century until the early 1930s. But the music they were performing was a pastiche of different musical genres, just as the dancing was-waltzes, jigs and popular tunes. As Linda Dowling Almeida observed in an earlier chapter over 70,000 Irish immigrated to the United States between 1945 and 1961, many of them settling in our region. 1 It was only after their arrival that the three forms of Irish traditional dance now performed in our region, ceili, set and step dancing, really began to take on their current shape.

This paper investigates costume fashion design of a specific Iranian group, specifically Baluch people. In this study, we have conducted a research to make an appropriated and functional association between modern daily fashion and Iranian local regional clothes as a social and cultural identity characteristic. There are some textile manufacturing industries in Iran, in which about 400,000 employees are working in different branches of production. Baluch's history indicates that their traditional costume has been derived from Iranian fundamental designs. Baluch culture has long been settled in the East of Iran. Baluch people are among the few Iranian tribes who are committed to their local costumes. This study is a cross-sectional survey in which 100 volunteers filled out the 7-scale questionnaires throughout some social networks among Iranian adult women (Age: 30±0.5). We also gathered some information based on the literature review, observation and museums and exhibitions of handicrafts visits. In this study, we focused on Baluch ethnic costumes, and we studied some articles in this field to develop a practical method in observing and assessing the sample costumers. Our data analysis indicates that 32% of volunteers partially agree that they have tendencies to pick fashionable clothing, 34% of volunteers agree that they prefer to be unique, 33% of volunteers partially agree that the national identity is important when it comes to fashion, and 28% of them partially agree about the importance of local origin of fashion. These results also express that 36% of volunteers partially agree that the traditional Iranian costume is appealing to them, and 33% of them partially agree that traditional costumes are usable as contemporary clothing. Per foregoing features of Baluch costumes in aesthetic, social and cultural context, and obtained results and relevant statistical analysis, it seems that Baluch costumes aesthetical identity can be applied in contemporary Iranian women's clothing, considering fashion principles. Last but not least, design process is based on questionnaire results and the traditional Baluch costume analysis. Our findings show that the importance of considering some criteria during design process, such as national identity, tendency to wear local and colorful costumes, applying traditional handcrafts and motifs on contemporary clothing, uniqueness and elegance. The presented design is recommended based on the deduced results of previous phases.

Recent initiatives concerning gender equality and Irish traditional music have raised questions regarding women's performance and participation. Focusing on the impact of commercialisation and consequent use of the "Celtic music" label from the 1990s, this article examines the impact of the commercial music industry on women in Irish traditional music. Utilising Lieb's (2018) "lifecycle model" as a form of analysis, this research draws on lived experiences of the scene aided by a statistical analysis of a select discography. A subsequent research aim provokes dual understandings pertaining to the impact of Riverdance and Michael Flatley's later dance shows on women performers. Although the 1990s can be regarded as transformative for women and music in Ireland with an increased visibility of women performing on the commercial scene, such progress can be understood in terms of "ebb and flow" with gender biases continuing to be experienced.

In the literature on competitive Irish step-dance, or indeed that of loss and grief, little attention has been paid to the experience of mourning the dancer identity as one leaves behind the competitive scene. This ambiguous loss may also coincide with other life changes for the former dancer, including the loss of physical ability or agility due to injury or the toll that years of competitive Irish dancing can take on the body. This paper primarily applies an auto-ethnographical lens in which the lived experience of one former competitive Irish dancer, who has made the transition to a post-dancer role, is reflected upon and explored, in order to stimulate discussion on what it means to be an Irish dancer.

The practice of 'traditional' Irish step dance was revolutionised in the 20th Century and continues to evolve in the 21st. Reasons for this include, but are not limited to, advances in technology impacting on the transmission of the folk practice, and the rise in popularity of the 'spectacular' Irish dance show, impacting on those who wish to learn the dance form. Increasingly within the step dance arena, practitioners have little or no connection to Ireland and/or Irish culture. As such, they are unaware of the history of Irish step dance which, to date, has been written from one perspective only.
In an attempt to re-'right' Irish step dance history, a research project which documents the organisation An Comhdhail na Múinteoirí Le Rincí Gaelacha (Congress of Irish Dance Teachers) is ongoing. Research methods for this project include the use of oral testimonies from the 'other' side and analysis of written documentation. Throughout this project, which seeks to present 'alternative facts', a number of ethical issues have arisen, including concerns about authenticity, duty of care, risk for the researcher, and ownership, among others. Some of these ethical concerns may have wider implications for the discipline of folkloristics itself. The purpose of this paper, therefore, is to prompt discussion on these issues in the context of ensuring the continued relevance and integrity of the discipline.

The image of dancing at the crossroads is one which can be associated in Ireland with genteel ‘comely maidens’ participating in a leisure activity with their ‘menfolk’. Given that the Irish Constitution’s “Women in the Home” clause (Art. 41.2) suggests that women should work only in the home, what happens when these ‘comely maidens’ transition from participating in Irish dance as a leisure activity, to the teaching of it as a professional work activity?  More specifically, what happens when these women become emboldened during 1960s Ireland and actively seek improvements in the terms and conditions of their work?

This research paper reflects on an ongoing oral history project with An Comhdháil na Múinteoirí le Rincí Gaelacha faoi Theoirainn Ráthaíochta – An Comhdháil (The Congress of Irish Dance Teachers). The organisation was established as a stand-alone association of professional (predominantly female) Irish dance teachers in 1970, following a series of disruptive events in late 1969. The organisation’s primary aim was (and still is) to safeguard and improve the terms and conditions of work for its members.

As the organisation approaches its 50th anniversary, this paper offers a timely opportunity to reflect on whether the decision to establish An Comhdháil enabled the founder members to realise their utopian dream or whether the decision was, in fact, a case of myopia which resulted in a dystopian nightmare.

This panel presentation reflects on the personal experiences of each panel member during a two-year Master of Arts by Research project at Limerick Institute of Technology (LIT). The research programme was co-sponsored by LIT and An Comhdháil na Múinteoirí le Rincí Gaelacha cuideachta faoi Theorainn Ráthaíochta (Congress of Irish Dance Teachers), known as An Chomhdháil.

The research sought to analyse the emotional experiences of Irish dancers participating in competitions under the aegis of An Chomhdháil as they approach, undergo and emerge from one phase of their competitive Irish dance career to the next. The notion of ambiguous loss, in which individuals mourn something, whether it is an identity, role, relationship or individual who has undergone a significant change but is still physically present, provided perspective in the exploration of the loss and grief experienced by this research community.

As the research programme reaches a conclusion (2018), it seems timely and appropriate for those involved to reflect on their experiences throughout the process. In particular, reflections on the effect of the insider/outsider positionality of, and the roles played by, each of the panellists throughout this research process is explored. It is anticipated that this self-reflection will serve to enhance future research collaborations between LIT and An Chomhdháil.