T is for tradition, trophy, theatre and time to dance

This essay focuses on contemporary developments within the Irish step dance genre in 21st century performance contexts. It examines in particular a number of eminent Irish dance choreographers who have made significant contributions to the body of work choreographed since the beginning of the 21st century, incorporating recognisable elements from within the Irish dance tradition. Significantly, many of these choreographers served their performance apprenticeship through participation in, and lengthy engagement with, the process of formal competitive step dance events, winning awards and accolades at national and international level and later joined the ranks of professional Irish dancers performing leading roles in Riverdance, Lord of the Dance and other Irish dance extravaganza spectacle performances. Notably, they also shared a desire to further investigate the dance form which brought them fame and success and yet on occasion, also restrained and restricted their artistic desires and impulses.i As competitors within the Irish dance idiom, these dancers who competed at an elite level over a long period of time demonstrated dedication and commitment and also a passion for their chosen performance art. They not only pursued success but also recognition as innovators and dancers who constantly pushed and sought to challenge the boundaries of Irish dance. For the remainder of this essay I will concentrate on four male choreographers all of whom have backgrounds in successful competitive Irish dance careers and also illustrious touring careers. Moreover all have been critically acclaimed as choreographers and solo performers. The four artists in question are Colin Dunne, Breandán de Gallaí, Alan Kenefick and John Carey.