Governing Bodies and Regional Organizations

The different organizations that oversee Irish dance across the globe.

A
Alliance of Irish Dance Teachers, The (AIDT): An open platform Irish dance organization founded in 2014.

Australia Irish Dance Association (AIDA): The CLRG accredited organization that oversees Irish dance in Australia and its five geographic regions.

C
Celtic Association of Irish Dance (CAID): An open platform Irish dance organization formed in 2000.

Celtic and Irish Dance Association (CIDA): An open platform Irish dance organization formed in 2002.

Coimisiún Le Rincí Gaelacha, An (CLRG): The Irish Dancing Commission. Governs Irish dancing worldwide, and is based in Ireland. Founded in 1930, it is the oldest organization, and the largest. In the 2010s, the estimated number of dancers under the CLRG umbrella was approximately 250,000.

Comhdháil na Múinteoirí le Rincí Gaelacha Teoranta, An (Comhdháil): The Congress of Irish Dance Teachers. This is the second oldest and second largest governing body, officially established in 1970.

Cumann Rince dea Mheasa (CRDM): An open platform Irish dance organization formed in 2002.

Cumann Rince Gaelach (CRG): An open platform Irish dance organization formed in 1988.

Cumann Rince Náisiúnta (CRN): The National Dance Association of Ireland. The longest-running open platform Irish dance organization, founded in 1982.

F
Federation of Irish Dance Professionals (FIDP): No longer extant. This organization did not require their teachers to be certified and relied on the honor system in regards to each instructor's background in Irish dance.

Festival Dance Teachers Association (FDTA): Created as the Nine Glens Association in 1971 by a member of An Comhdháil and non-affiliated Irish dance teachers, this organization favors a slightly different technique and style than "feis" Irish dance (see FEIS STYLE IRISH DANCE). Rather than feiseanna, they compete at festivals and other competitions. The Ulster Championships is their oldest competition.

I
Irish Dance Teachers Association of North America, The (IDTANA): The largest North American organization of Irish dance teachers and schools, covering the US, Canada, and Mexico. It is accredited by CLRG.

N
Nine Glens Association: The original name of the organization that eventually became the Festival Dance Teachers Association.

North American Adult Irish Dance Association (NAAIDA): Unfortunately no longer active, this organization was meant to support the rise in adult competitive Irish dancers, and to widen the breadth of opportunities for so-called super seniors.

O
Open Platform Irish Dance Federation, The (OPIDF): An open platform Irish dance organization founded in 2018.

R
Regional Council of Continental Europe and Asia (RCCEA): The CLRG-affiliated organization for all dancers across mainland Europe and Asia.

Rince Tuatha Nua (RTN): An open platform Irish dance organization founded in 2013.

W
World Irish Dance Association (WIDA): An open platform Irish dance organization founded in 2004. WIDA helps bring competitive Irish dance to places as far from Ireland as Siberia.

Geographic Regions

Officially sanctioned regions within different governing bodies.

Levels, Age Categories, and Certifications

A
ADCRG (CLRG): Ard Diploma Coimisiún Le Rincí Gaelacha, or Highest Diploma in Irish Dancing. This is an adjudicator, sanctioned to judge CLRG competitions, teaching certifications, and grade exams. Candidates must have their TCRG for five years and be at least thirty years old. See also TCRG (CLRG) and SDCRG (CLRG).

ADCRG (Comhdháil): Ard Diploma na Comhdháil na Rince Gaelacha. Certified adjudicator for all Comhdháil competitions.

ADCRG-BG (CLRG): The BG stands for Bun Grád, and indicates that an individual is qualified to be a grade examiner up to level ten. They are not qualified to adjudicate any other certifications.

Adult: A competitive age division for dancers over eighteen, occasionally divided into Advanced/Masters, or Under 40/Over 40. To compete in Adult, you must either have begun dancing after eighteen, or have taken a five year break from competing in the open age divisions. While open age divisions have no upper age limit, most competitive Irish dancers are young. Adult levels offer an opportunity to compete without the same pressure, time commitment, or years of experience. Leaving Adult levels to compete in the open divisions is possible, as is starting as an adult and not competing in the Adult division.

Advanced or Masters Adult (CLRG) (North America): Only appears in some regions or at some feiseanna (see FEIS). This level is reserved for dancers over the age of eighteen who competed and placed in the Prelim or Open levels at any point in their competitive career.

Advanced Beginner (CLRG) (North America): The second level. To advance to this level, dancers must win a first, second, or third in Beginner. See also FEIS.

Ard (CLRG) (Ireland): Advanced grade or champion. Fourth and highest competitive level.

Ard Grád (CRN): Principal Grade. Also, level four. (See CUMANN RINCE NAISIUNTA.)

B
Beginner (CLRG) (Australia, England and Ireland, North America): The first level in competition. Depending on the region, a dancer usually must place top three to move to the next level.

Beginners A (Comhdháil) (in UK and Ireland): Dancers who win a 1st in this level can then move up to Beginners B.

Beginners B (Comhdháil) (in UK and Ireland): The second level. To move up, a dancer must place first.

Beginner Figures (CLRG) (in North America): The first level in figure dance competition. Determined by the solo levels of the majority of the dancers on the team, usually Beginner and Advanced Beginner.

Bun (CLRG) (Ireland/England): Beginner grade. First level.

Bun Grád (CRN): Beginner Grade. Also, level one.

C
Craobh Grád (CRN): Championship Grade. Also, level five.

E
Elementary (CLRG) (in Australia): To move up, a dancer must place against eight or more competitors.

G
Grades (CLRG): Grades are another way of referring to competitive levels below Prelim and Open.

I
Intermediate (CLRG) (in Australia): One of the most difficult levels. More complicated and intricate steps are performed. To move up, a dancer must place against eight or more competitors.

Intermediate (CLRG) (in England and Ireland): To move up, dancers much place first against five other competitors. These dancers may compete in the Premier Competitions if they want.

J
Junior Adult: In some regions, this is an Under 40 Adult category.

M
Mean (CLRG) (Ireland/England): Intermediate grade. Third level.

Mean Grád (CRN): Middle Grade. Also, level three.

MRG (Comhdháil): Muinteoir Rince Gaelacha. Certified céilí dance teacher.

N
Novice (CLRG) (in North America): The third level, for those who have placed first, second, or third as an advanced beginner. This is often when dancers get their first solo costume and steps become more complex. You must win first to advance to the next level.

O
O: In competitions, the O stands for Over, and is applied to age categories. So, for example, 15O/15&O means 15 and Over (meaning all the dancers were 15 or older on January 1 of that year). See U.

Open (CLRG) (in Australia): The highest level of competition.

Open (CLRG) (in England and Ireland): The highest level of competition.

Open (Comhdháil) (in UK and Ireland): This level is open to dancers from all levels. Most of the dancers, however, are Champions who have won a majority of firsts in the other levels.

Open Championship (CLRG) (in North America): Usually just referred to as Open. The most advanced level, for those who have won two first places at the Preliminary Championship level (see PRELIMINARY CHAMPIONSHIP).

Open Figures (CLRG) (in North America): The second and highest level in figure dance competition. Typically, the majority of dancers on the team must be in Novice or above.

P
Preliminary Championship (CLRG) (in North America): Usually preferred to as Prelim. The second highest level in competition, achieved after a dancer receives two firsts in all their dances at the PRIZEWINNER level. Dancers now compete in championship style competitions at feiseanna for an overall win. Two wins qualifies a dancer for Open Championships (see OPEN CHAMPIONSHIPS).

Pre-Open (Comhdháil) (in UK and Ireland): Dancers who have won a first in Beginners B.

Primary (CLRG) (in Australia): Dancers perform more complicated steps, and must win against eight or more competitors to move up.

Primary (CLRG) (in England and Ireland): Dancers may now compete in all of the dances. To move up, the dancer must win a first place against five other competitors in that dance alone.

Prizewinner (CLRG) (in North America): The fourth level. This is the highest pre-championship level and follows Novice (see NOVICE). Dancers can begin qualifying to Preliminary Championships (see PRELIMINARY CHAMPIONSHIPS), and may stop competing softshoe jigs.

S
SDCRG (CLRG): Scrúdaithoir Coimisiún Le Rincí Gaelacha is the highest level of certification under CLRG rules. These are the examiners who are qualified to judge grade exams, TCRG, and ADCRG candidates.

Senior: Competitive dancers over the age of sixteen, eighteen, or twenty-one, depending on the organization and competition.

Super senior: Competitive dancers usually over the age of twenty five. Not the same as ADULT dancers, though they are adults. These are usually people who have been competing at a high level since they were kids.

T
TCRG (CLRG): (Certified Instructor) Teagascóir Coimisiún Le Rinci Gaelacha — translation is Gaelic Commission Dancing Teacher. This individual is qualified to teach Irish dance and to have their dancers compete at all sanctioned competitions. As of 2018, all TCRG candidates must also have completed the twelve grade exams (see GRADE EXAMS).

TCRG (Comhdháil): (Certified Instructor) Teastais de Comhdháil na Rince Gaelacha. Certified to teach Irish dance and to have dancers compete at all An Comhdháil sanctioned events.

TMRF (CLRG): Scrúdú Teastas Rince Céilí. Certified céilí dance instructor.

Tús (CLRG) (Ireland/England): Primary grade. Second level.

U
U: In competitions, the U stands for Under, and is applied to age categories. So, for example, U8 means Under 8 (meaning the dancer was 7 on January 1 of that year). See O.

Ullmhúchán Grád (CRN): Preparatory Grade, or level two.

Major Competitions

A
All Ireland Championships of Irish Dance (CLRG): All Irelands, or Oireachtas Rince na hÉireann. Along with the World Championships (Oireachtas Rince na Cruinne), All Irelands is one of the most prestigious CLRG competitions. Before the World Championships, All Irelands was the world championship. Dancers do not have to qualify for All Irelands, but in Ireland it serves as another qualifier for Worlds. All competitors are championship level.

All Ireland and International Championships (Comhdháil): Formerly An Comhdháil's largest competition. As of 2012, they host the World Irish Dance Championships (see WORLD IRISH DANCE CHAMPIONSHIPS).

All Scotland Championships (CLRG): The Scottish national championships.

Australian International Oireachtas, The (CLRG): Since the Australian Nationals are closed to international competitors, this championship serves as an open one.

Australian National Championships (CLRG): Otherwise abbeviated as ACT. These are World qualifies and are closed to international competitors.

C
Continental Europe and Asia Oireachtas (CLRG): The world qualifying competition for mainland Europe and Asia.

G
Great Britain Championships, The (CLRG): Otherwise known as the Great Britains, these are the British national championships.

N
North American Irish Dance Nationals (CLRG): NAIDC, though colloquially referred to as the NANs (North American Nationals). These are staged somewhere in North America every summer and are a secondary qualifier for Worlds. Open to international competitors.

O
Oireachtas Rince na Cruinne (CLRG) (roughly pronounced "o-ROCK-tas rin-KA na KRYN-ya"): The Irish Dancing World Championships, or the Worlds. First hosted by CLRG in 1970. The largest and most prestigious CLRG competition. Dancers must qualify through their oireachtas (primary qualifier) or a secondary qualifier (such as a national competition). Secondary qualifiers must have danced at their oireachtas. About five thousand dancers compete each year. Michael Flatley was the first North American dancer to win, in 1975. The record number of wins goes to Colm O'Sé, with eleven titles.

Oireachtas Rince na hÉireann (CLRG): See All Ireland Championships of Irish Dance.

T
Three Festivals (FDTA): The annual championships held by what is now the Festival Dance Teachers Association. These were first staged throughout 1972 in Ballymena, Glenravel, and Carrickfergus. Another championship was later organized in Antrim. These events were eventually consolidated into the Ulster Championships.

Three Nations Championship, The (CLRG): Created in 2021, this championship is for top dancers from Scotland, Wales, and England.

U
Ulster Championships (FDTA): The major competition of the Festival Dance Teachers Association, created from the combination of three popular festivals.

W
World Irish Dance Championships (Comhdháil): From 2012, this is Comhdháil's largest competition, attracting champion dancers the world over.

Dances and Steps

A
An Rince Mór (céilí): Reel time, round dance, any number of couples.

And off you go! (or just off you go): The universal phrase when a dancer starts their step, especially a beginner. This is a substitute for the final count of 8. So, for example in the reel, ONE23, TWO23, THREE23 FOUR23, FIVE23, SIX23, SEVEN23, and off (EIGHT) you (2) go (3)!

Antrim Reel (céilí): Reel time, long dance, any number of couples.

B
Back clicks: Bend both feet towards your back side and click your heels together. A high jump isn't required, but it gives a better effect. Unlike front clicks, back clicks are frequently done while turning in the air.

Backwards sevens (reverse sevens): Do these exactly like the sevens, but go in the opposite direction of the foot in front (ie. if your right foot is in front, go left). See SEVENS.

Back23s (two-short-threes, short threes): See also FIGURE DANCE JUMPS, FIGURE DANCE THREES, SHORT THREES, TWO-SHORT-THREES.

Back trebles: TREBLES done with the back foot. The aim is to keep the back foot tightly crossed and behind the front foot and not to go too far out to the side.

Bars and beats: A bar is a section of music with a set number of beats. This is the essential way Irish dance is choreographed and counted. The most common number of beats for many Irish dances is three per bar, but jigs can be counted four beats per bar, and slip jigs five beats per bar. There are typically eight bars for one half of a step (ie, just the right leg). Most dances in CLRG competitions consist of at least two full steps, or 32 bars. Championship dances can go past this, and set dances have unusual numbers of bars.

Bent leg jumps/leaps: There are dozens and dozens and they all have different names or no real names at all. One version has the front leg bent in a whip and the back leg kicking the butt. Another common variation is a bird leap where the leading leg bends first and then kicks out. There's also a variation where the leg doesn't kick out at all. Sometimes there's a little double pump of one foot or another. I've seen these called horse jumps, knee jumps, kick jumps, cross jumps. My school called one bent leg leap a Trinity leap for a short period in the early 2000s. Because Irish dance doesn't do split leaps or wide jumps (except for basic ones) teachers play with as many bent leg variations as it's possible to do.

Bicycle jump: A fairly consistent term for a jump that involves bending both legs up at slightly different times before landing, mimicking the look of pedaling a bike in the air. This is an advanced move that gained a lot of popularity in the later 2000s and into the 2010s. If performed while in reel shoes or hardshoes, find a way to click your heels. If you're really advanced, you can throw in an extra "pedal."

Bird leap/birdie: A leap over on steroids (see THREES for more detail), this is the grand jeté of Irish dance and defines the champion Irish dancer. The ideal bird must have the extended leg at or above waist height, with the bent back knee pointing towards the ground. If executed correctly, the dancer should "hang" in the air before coming down. One of the most iconic bird leaps is that of former Trinity Irish Dance Company member, Natalie Sliwinski Howard. In recent years, the leading leg has occasionally come above the shoulders and is kicked up well in advance of the back leg, which lacks the same feel as an actual leap. It's getting outrageous out there.

Blackbird, The (traditional set): Hornpipe (2/4). Often the second set dance learned.

Body (céilí): The main portion of the choreography in a group dance.

Bonfire Dance (céilí): Reel time, round dance, at least six couples. Allegedly danced around the bonfire on St. John's Eve.

Box: An old hardshoe movement, though it remains in use. Step on your heels one foot at a time, click your toes together, then step down inward one at time, click your heels together, and step one foot behind to finish. There are two variations of the box, one where you start and finish on the same foot (full box), and one where you start and finish on different feet (half box).

Bridge of Athlone, The (céilí): Jig time, long dance, for any number of couples.

Brush: Treble front, but do not treble back. It should make one clear tap.

Butterflies: A butterfly is a vertical jump similar to the flutter/entrechat (see FLUTTERS), but with flat feet instead of pointed, and only switching position once in the air. Some variations require that the toes of both feet touch as the legs switch positions, making for a very intricate effect. These were very popular in years gone by.

C
Céilí (pronounced "KAY-lee"): Céilí dances are group dances, or party dances. This is generally where Irish dance originated centuries ago. Céilí dances run the gamut from repetitive choreography designed to be easily taught, learned, and danced all night, to extremely complex choreography for winning World medals and putting on exciting shows. While céilí numbers can be original choreography, traditional céilí dances are some of the oldest preserved choreography, dating back to the 18th century. There are thirty official céilí dances as defined by CLRG, but there are several more recorded ones that people have preserved.

A céilí is also a party of music and dance. The Gaelic League sponsored the first Irish céilí in 1897.

See also FIGURE or TEAM DANCE.

Click (hit): Any hardshoe or reel shoe movement where the heels click. Also, FRONT CLICK, BACK CLICK, HALF CLICK, DOUBLE CLICK.

Clock turns: A quarter turn where the foot kicks the butt, supporting leg pivots, and then the bent leg points down. Jean Butler coined this term, which we didn't have a name for at my school. See also TURNS.

Cross keys: An intricate hardshoe movement characterized by weaving of the feet in and out and behind, somewhat outdated now but very popular in the 80s and 90s. Used in the Garden of Daisies traditional set. Well executed versions can even include some extra flourishes, including more taps.

Cross Reel, The (céilí): Reel time, round dance, for four couples. First figure, Figure of Eight and Ring. Second figure, Circle Round and Hands Across.

D
Dance Drama: A type of choreography based on a theme or story, competed at major competitions and rarely smaller feiseanna. Costumes, sets, props, and original concepts are encouraged. You can even dye your shoes. At the Worlds, where Dance Drama has been competed since the early 1970s, the theme must be related to Ireland.

Diddydums: This one is specific to Deirdre Abeid (TCRG), founder of the Haran School of Irish Dance in Kettle Falls and Spokane, WA. This refers to flutters/entrechat. The syllables time well with the music when you're lilting the steps. I can't remember now if she said she picked it up from her teacher or someone else, but I have a major fondness for the term.

Double clicks: Jump straight up and, similar to a flutter/entrechat, click your heels together as your feet meet twice. You don't have to stop at the double, though. High level dancers can take these things to crazy numbers.

Double cuts (double hops, double knee, double pump (front), quivers): Rather than a single hop-to-the-knee, the bent leg should flutter twice while the supporting leg jumps only once. (See HOP.)

Double pump (behind): Similar idea to the DOUBLE CUT but done with the leg bent behind. This is an advanced movement, with many variations seen in championship steps, both soft and hard.

Double jig: See TREBLE JIG or LIGHT JIG.

Double slice: See SCISSOR JUMP.

Double toe: Same as a regular toe (see TOE), but doubled on the beat. An advanced move.

Drum/drumroll (roll, heel): Similar to a QUIVER but done exclusively in hardshoe. This is a toe-heel-toe step done in rapid succession, while the back foot supports. Can be done traveling to the side, or stationary. Adding extra flourishes at advanced levels or in show choreography is common. They're a good way to show off to non-Irish dancers.

Duke Reel, The (céilí): Reel time, round dance, for three couples. First figure, Figure of Eight. Second figure, Right and Left Chain.

E
Eight-Hand Jig (céilí): Jig time, for eight dancers. First figure, Advance and Retire. Second figure, Right Hand Chain/Right Hand to Opposite Lady.

Eight-Hand Reel (céilí): Reel time, for eight dancers. First figure, Advance and Retire. Second figure, Ladies' Chain.

F
Fairy Reel, The (céilí) (also, the six-hand reel): Reel time, progressive long dance, for six dancers (two gents and four ladies). Once performed as a square dance.

Festival slow slip jig: In festival Irish dancing, the slip jig is performed at 80-90 bpm, rather than the typical 113-122 bpm.

Figure dance: Partner and group dancing. Specifically, the FIGURE refers to different sections of choreography in group dances, but can also generally refer to the whole dance, as in the figure dancing championship at Worlds (CLRG). Some figure dances have traditional choreography (the Fairy Reel [6-hand], Trip to the Cottage [8-hand], Three Tunes [8-hand], and the 4-hand, to name four common ones). Some are entirely custom choreographed. See also, CÉILÍ.

Figure dance jumps (two-short-threes, short threes, hop back, jump back, and back): There are a few variations that all look kind of similar. The basic one is a hop back (both feet jump) then step in place on 2 and 3. The counts are like this: Jump back23, jump back23. The other main variation is to jump back and immediately travel (jump back234567, for example). And of course, you can just jump straight up in the air, too. FIGURE DANCE THREES (forward and backward) can be done with more of a jump, as well. Jig figure dances often have this second style.

Figure dance sevens (sidestep): In figure dancing, the SEVENS are essentially the same, but you might be going diagonally or around other people.

Figure dance threes (promenade step): Same concept and count as THREES. This is a forward-and-back (or advance-and-retire) skipping step for group dancing. When counted, it goes like this: And foward23, and forward23, and back23, and back23, and forward23, and foward23, and back23, and back23. Threes can also be done more like leapovers (see THREES definition 2), as mentioned in FIGURE DANCE JUMPS. (The back23s here are not the same as the other figure dance back23s/short threes, which are stationary jumps.)

Figures: In group dances, figures are specific sections of choreography within a dance. For example, the 4-hand reel has figure of eight and rings of three and ladies' chain. In competition, only one figure is performed, and it changes from year to year.

Flutters (butterflies, entrechat, ballet jumps, scissors, wrap around, diddydums): This step is done in softshoe and in hardshoes (with a click of the heels). A vertical jump with pointed feet, where the leading leg passes the second leg twice (or more) before landing. Can also be performed where the leading leg flickers twice or more in front of the back leg without switching position.

Four-Hand Reel (céilí): Reel time, for four dancers. First figure, Figure of Eight and Rings of Three. Second figure, Ladies' Chain.

Front clicks: Performed in hardshoe, a front click is basically a kick jump with a heel click. Step with your supporting foot, then swing up the second foot and immediately swing up the supporting foot, trying to get a click from the heels of the hard shoes as your feet pass by. If you have correct turnout and very pointed toes, these are much easier to do. Practice low, holding onto a chair. You can later move on to no chair, and then higher.

G
Garden of Dairies (traditional set): Hornpipe (4/4). Typically the third set dance learned.

Gates of Derry, The (céilí): Single jig time, for any even number of couples (typically four). Usually danced to The Quaker's Wife.

Gentleman (céilí): Typically, the dancer who stands to the left of their partner or in the middle of a larger line-up. Actual men and boys, if available, always assume this role because there aren't ever enough of them to have to take on the lady role, too. But generally, the gent is just the placement in the group and can be any gender. Their standard handhold is to keep their hand open with the thumb away from the palm. The lady hooks her fingers around the back of the gent's hand and over his palm. His thumb can then rest on her fingers. Sometimes he keeps his fingers extended, and sometimes he curls them in. The gent's elbow stays in front of the lady's.

Glencar Reel (céilí): Reel time, for six dancers.

H
Half click: Begin by doing a regular front click (see FRONT CLICK for more detail), except after making contact, the forward swinging leg goes into a whip/cut accross the other.

Hand: The number of people in a team dance. 2-hands have two people, 3-hands have three people, etc.

Hanging leap: See BIRD LEAP. This is any leap where the dancer is trying to brace their core and legs so that they appear to suspend in the air before landing. The mark of a high level dancer is how well they hang their leaps and jumps when needed.

Hardshoe: The "tap" dancing half of Irish dance. Hardshoe dances are hornpipes, treble jigs, sets, and treble reels. Irish dance is primarily associated with hardshoe thanks to shows like Riverdance and Lord of the Dance. However, hardshoe is introduced only when the dancer has a strong foundation in softshoe (see SOFTSHOE).

Harvest Time Jig (céilí): Jig time, for thirty-six dancers (twelve trios).

Haste to the Wedding (céilí): Jig time, long dance, for any number of couples. Danced to the tune of the same name.

Haymaker's Jig (céilí): Jig time, long dance, for five couples.

Heavy jig: A jig done in hardshoes. See also, Treble Jig.

Heel drag: Commonly done in hardshoe. Place your heel out to the side and drag your other foot to meet it. This is a common step in a lot of shows.

Heel step: Place your heel on the ground in front of you, foot turned out. You may or may not lean your weight on it, depending on the dance. This can be done in hardshoe or softshoe.

High-Cauled Cap (céilí): Reel time, for four couples (eight-hand). First figure, Sidestep and Figure Eight. Second figure, Circle and Cross. Third figure, Ladies' Chain.

Hit-your-heel (Tip): Hardshoe. Bring your first foot's tip back to strike against the heel of the second.

Hop23 (skip23, skips): See THREES.

Hop backs: This step is nothing more than hopping backward instead of forward.

Hop jig: See SINGLE JIG.

Hops (hop-to-the-knee, quiver, knee, cut, arch): Another basic move where the leg is bent so that your toe can touch your supporting knee, while you hop on the supporting leg. Hops can also be behind you, where your foot kicks your butt. Advanced hops involve fluttering the bent leg twice (or three times) before landing (double hop or double cut, etc.).

Hornpipe: A hardshoe dance, once only performed by men and boys. The hornpipe is in 2/4 or 4/4 time. Beginners dance a fast/traditional speed, while advanced dancers use a slower/contemporary rhythm that requires more footwork to fill in the bars of music.

Humours of Bandon (céilí): Jig time, four-hand. Danced to the tune of the same name. First figure, Advance Through Center. Second figure, Center Meet. Third figure, Ladies' Chain.

Humours of Bandon (traditional set): Jig (6/8). Not typically required by CLRG, but danced in other organizations.

Hunt, The (traditional set): Hornpipe (4/4). Not typically required by CLRG, but danced in other organizations.

I
Irish step dance: I never thought to put this here, but in recent years I've noticed an increasing amount of younger dancers insisting this term is incorrect. Well, I hate to break hearts, but Irish step dance is a term for Irish dancing. It's a little old fashioned and formal, but it's meant to differentiate traditional feis style Irish dancing from things like country dance, set dance (not to be confused with Irish step dance set dances), Sean Nós, and other Irish dances. Because, yes, there's more than one type of Irish folk dance.

J
Jig: Four variations of the jig are performed in solo dancing: light (double) jig, single/hop jig, slip jig, and treble jig. The music is 6/8 time (usually counted in 4s). Slip jigs, however, are in 9/8 time (counted in 5s). The treble jig is the hardshoe step; the other three are softshoe only. Light and single/hop jigs cease competition at the highest levels. Traditionally, only women and girls dance the slip jig in competition. There are also céilí jigs, as well as set dance jigs.

Jig step (rise and grind, rising step, sink and grind): See RISE AND GRIND.

Job of Journeywork (traditional set): Hornpipe (4/4).

Jockey to the Fair (traditional set): Jig (6/8).

Jump: From the very simple vertical jump on two feet, to the flying BIRD LEAP, Irish dance does a lot of jumping.

K
Kick: The extension of the leading leg to at least waist height. Today, a mark of a champion dancer is an extremely high quick, right to the nose. Kicks can also refer to any sharp movement of the leg, especially in kicking one's butt. Irish dancers must always kick their own butts.

King of the Fairies (traditional set): Hornpipe (2/4). One of the most advanced of the traditional sets.

Knee raise: A front knee bend without the hop (see HOP). Used in softshore and hardshoe.

L
Lady (céilí): Typically, the dancer who stands to the right of their partner or to either side of a gent in a larger line-up. If all dancers are the same gender, this is decided by height. The standard handhold for the lady is to hook their fingers over the palm of the gent, elbow behind the gent's elbow.

Lannigan's Ball (céilí): Single jig time, round dance, for six couples. Danced to the tune of the same name.

Lead around (lead round, lead-a-round): A step in any dance where the 8-count step moves (sometimes vaguely) in a circle. This varies by teacher, dance, or level. Reels and light jigs most commonly have a lead round. A universal lead round is eight leap overs (see THREES) in a circle. This is the beginner reel (see REEL). There are also lead arounds in céilí dances.

Leap (too many terms to mention): See THREES, BIRD LEAPS, BENT LEG LEAPS. Irish dance doesn't have many true leaps, simply a lot of variations on one. All of them involve at least one bent leg.

Light jig (or light double jig): One of the three softshoe jig steps (slip jig, light jig, single/hop jig). Probably the most common type of jig. Like the beginner reel, the beginner light jig lead around is almost identical from school to school. Along with the single/hop jig, the light jig is dropped at championship levels.

Long dance (céilí): A type of céilí formation. Haymaker's Jig is a long dance.

M
Machine guns (drums, fast trebles): Ultra fast trebles that sound like gunfire. These can be done in the front, to the side, or in back, and sometimes all three in quick succession.

Morris Reel (céilí): Reel time, eight-hand. First figure, Advance and Retire. Second figure, Ladies' Chain.

N
Non-traditional set (modern/mod set, contemporary set): Hardshoe dances "set" to and named for a piece of music, with unique choreography. These dances are usually performed at the highest levels of competition and are meant to showcase the skills of the individual dancer. The list of accepted music is constantly expanding, and popular choices are always changing.

O
Overs: Another term for THREES and LEAPS.

Own Choreography: Original figure dance choreography, but still maintaining a traditional feel and musicality.

P
Point: Always point your toes if your foot is off the floor (unless you're doing a movement where you're not supposed to). This also refers to starting and finishing a dance (see SET UP).

Point-and-bow: Point the foot and bow to the adjudicator and to the musician. This is how you finish a step in an Irish dance competition.

Progressive (céilí): Refers to a céilí dance that has an open amount of dancers, from four to infinity, and can continue on forever (or until the pub closes). Instead of fixed partners, you change partners with each set. These dances are common in informal or social céilí settings and do not (generally) require previous experience. There are about eleven official céilí dances with a progressive formation. Examples are Waves of Tory, Siege of Ennis, and Walls of Limerick.

Promenade Step (céilí): A skipping step (see THREES) commonly done in group dance lead rounds or other traveling sections.

Q
Quiver (a. wiggles, fishies, shakes, flicks; b. hop-to-the-knee, double cut, double hop)
a.) A rapid "shaking" of the foot seen in more advanced softshoe steps. (See DRUM.)
b.) A rapid "double hop", where your foot hops (or quivers) twice instead of once, in one beat. (See DOUBLE CUT.)

R
Rakes of Mallow, The (céilí): Reel time, long dance, for any even number of trios. Danced to the tune of the same name.

Reel: Sure, the public thinks of the jig when they think of Ireland, but it's the reel that is the foundation of Irish dancing. The reel is a softshoe dance performed solo or in groups. The music is 4/4 time and relatively quick, typically 113 bpm at the upper levels and 122 bpm at beginner. The counts are ONE-two-three, TWO-two-three, etc. It is usually the first dance learned and has a similar lead around from school to school, typically eight 123s/leap overs/overs in a circle. A TREBLE REEL is a reel done in hardshoe.

Rince Fada (céilí): Jig time, progressive long dance, for any number of couples.

Rise and Grind (rising step, sink and grind, jig step): When the RISING STEP is performed twice, on alternating feet (ie, first foot first, then left foot).

Rising Step (rise and grind, sink and grind, jig step): The name for a common softshoe jig step: hop, hop back, hop back234.

Rocks: A term we can all agree upon! Seemingly never out of style, a rock is when the dancer crosses their feet tightly together and rocks the ankles back and forth. This creates the illusion of rubber ankles, and is amazing to watch. Can be done in both softshoe and hardshoe. Keeping the thighs and knees together helps support the motion.

Round dance (céilí): A type of céilí dance formation. Examples are Lannigan's Ball, An Rince Mor, and Bonfire Dance.

Roll: See DRUM.

S
Scissor: I've seen this term mean about a dozen things, but they usually involve the legs passing in some kind of jump. Might also be a name for a wide jump, where the legs go out instead of front and back (think Highland style).

Scissor jump (double slice): Same idea as a scissor kick, but the legs do a quick pass beneath the body before the big kick. (Kind of like a flutter/wraparound with a kick at the end).

Scissor kick (slice): Exactly like a front click (see FRONT CLICK), except make no contact with your heels; unless you're wearing reel shoes, in which case, you do.

Sean Nós (dance) (literally, old style): An older, more casual form of Irish dancing. Self-expression and improvisation are encouraged, as well as dancing in a more limited space, rather than using up the whole stage as in traditional Irish dance. Can be done with any sort of shoe that makes enough noise, and on surfaces ranging from the street to a barrel to a door off its hinges. Arms are held more naturally at the sides. A true snapshot of what Irish dancing probably looked like before its standardization and emphasis on competition.

Set dances (solo hardshoe): Hardshoe dances named according to the music they are "set" to. The list constantly changes for each governing body, as do popular choices. Set dances are performed in fast and slow times and are usually treble jigs or hornpipes. They are often an unusual number of bars. Set dances are further divided into two categories: TRADITIONAL and NON-TRADITIONAL/CONTEMPORARY/MODERN. Traditional sets have essentially the same choreography from school to school, though there are variations based on different dancing masters (namely STEPHEN COMERFORD or JEREMIAH MOLYNEAUX). Non-traditional sets are custom to each school or individual dancer, and usually only performed at the championship levels. There can be traditional and non-traditional choreography for the same song.

Set dances (group, or country dancing): Set dances, which are group folk dances, developed alongside of céilí dances (see CÉILÍ and FIGURE DANCES). In the 19th century, the Gaelic League emphasized céilí dancing over set dancing, as set dance was preceived to be too foreign (having been influenced by French quadrilles). However, set dancing got a revival in the 1980s that has endured to the present day, with dancers learning historical choreography and even competing. It is reminiscent of Sean Nós and square dancing and not directly related to Irish step dance.

Set up: Referring to how a dancer begins their step. Stand in first (well, the Irish dance version), cross the right foot over the left at the 5 count, point the right foot at the 7, rise up on your toes at 8 (see AND OFF YOU GO).

Sevens: A sideways or diagonal traveling movement. Along with THREES, the sevens are a foundational movement of Irish dance. You simply step to the side on seven beats. Your lead foot will remain in front, then you cross your back leg behind. Move in the direction of your lead foot (ie, right foot goes to the right). These are usually mixed with some kind of initial flourish on the first count (a hop, jump, or whip, for example), so that the stepping starts at 2. E.g., jump(1) 2 3 4 5 6 7. The key is to move smoothly without bobbing on each step, meaning legs should be straight. You see this step in many of the SIDEDOWNS/SIDESTEPS in beginner reels, as well as in céilí/figure dances.

Short threes: A style of threes primarily used in céilí dances. This is a jumping movement where the leading leg jumps tightly behind the supporting leg on the first count. See BACK23S, THREES and FIGURE DANCE JUMPS, FIGURE DANCE THREES.

Sidedown (sidestep, sevens): Often a common step directly after the lead round in a beginner reel, usually involving hopping or sevens in a straight line on both right and left foot — but this, as always, depends on the teacher, dance, or level. Can also refer to the sidestep in céilí dances.

Siege of Carrick (céilí): Jig time, progressive long dance, for any number of dancers. Danced to the tune Haste to the Wedding. Formerly a four-hand dance.

Siege of Ennis (céilí): Jig time, long dance, for eight sets of two couples.

Sidestep (sidedown, sevens): Either a sideways or diagonal traveling step in a solo dance, or a series of sevens in a céilí dance. See SIDEDOWN and SEVENS.

Single jig (hop jig): A traditional softshoe jig in 6/8 time. Often a little more bouncy than a light jig. A single jig is not danced at the championship level, nor is it danced in every region, though you must know it to complete your GRADE EXAM. (I came up in the Western US Region, which does compete it, and was surprised to meet dancers on the east coast who hadn't even heard of it!)

Sink and Grind (jig step, rise and grind, rising step): A variation on the RISE AND GRIND step, where the step is done twice with the same foot leading.

Sixteen-Hand Reel (céilí): Reel time, for sixteen dancers. First figure, Advance and Retire. Second figure, Right Hand to Opposite Lady. Third figure, Arch Arms.

Skip: Another name for a traveling THREE. Higher level dancers should aim to really kick the leading leg out and cover as much ground as possible. Always remember to kick your butt.

Slice: See SCISSOR KICK.

Slip jig: Slip jigs are in 9/8 time (ONE two-three four-five, TWO two-three four-five). The slip jig is danced in soft shoes and is the most graceful of Irish dances. It features light hopping, sliding, skipping and pointing. This is only competed by women and girls, but performed by all genders in grade and teaching exams.

Softshoe: Dances done wearing shoes with soft soles. Softshoe dances are the first element of Irish dance that you learn, starting with threes, sevens, and hops. Boys' shoes (or REEL SHOES) have a heel attached, and they do perform clicks and other rhythmic steps, but for the most part, these dances are all about leaps, jumps, and traveling. Softshoe dances are reels, single jigs, light jigs, slip jigs, and most figure and céilí dances.

Speed: Not the drug, though an Irish dancer on speed would be a sight to behold. Speed refers to the tempo of a dance in beats per minute (bpm). Today, it is marked in competition by the metronome, but in eras gone by, it was whatever the musician felt like. There are common beginner dance speeds and advanced dance speeds, as well as the variations of set dance speeds. The higher the level, the slower the speed. It's a mark of an insane or gifted advanced dancer who performers their set to the slowest beats possible (sometimes into the 60s).

The list of typical speeds (not including set dances):

Reel - 113-122
Light jig - 112-116
Single jig - 116-124
Slip jig - 113-124
Treble jig - 73-96
Hornpipe - 113-144
Treble reel - 115-120

Spin: In céilí dances, spins are often performed with a partner, usually facing each other, all four hands clasping either at nose height or outstretched. Think of the party in third class scene from Titanic, except more controlled. Solo Irish dance doesn't do any spinning (yet), but we do a lot of TURNS. Some get pretty fast.

Splits: (At least) 180 degree separation between the right and left leg, either vertical (front and back of the body) or middle/center (side to side of the body). Not all Irish dancers ever achieve a full split (and only need vertical splits if they do), but world class solo dancers must have them.

Square (céilí): A common section in the BODY of a team dance, when the dancers change places in a square shape and end in their original positions.

St. Patrick's Day (céilí): Jig time, eight-hand. Danced to the tune of the same name. First figure, Advance and Retire. Second figure, Ladies' Chain.

St. Patrick's Day (traditional set): Treble jig. Usually the first set dance learned.

Step down the line: When a bunch of dancers line up and, one at a time, perform at least one step, right and left foot. Can be done for numerous reasons, from practicing in class, to a PARADE OF CHAMPIONS.

Sweets of May, The (céilí): Jig time, for four couples. Danced to the tune of the same name. First figure, Rings. Second figure, Lead Around. Third figure, See-Saw. Fourth figure, Sides Under Arms. Originally from County Armagh.

T
Team dance: As the name indicates, these are dances performed by more than one person in competition or shows. Some are traditionally choreographed and set to specific songs, and some are wholly original. (See CÉILÍ or FIGURES)

Threes (123s, hop23s, skips, skip23s; leap overs, leap23s, over23s, overs, jump23s, jumps): Threes are among the first movements taught to Irish dancers, along with SEVENS.
1. It's a stepping movement in three counts and can be done stationary or traveling. The lead leg steps forward (1), the back leg steps in front of the lead (2), and the lead leg steps behind (3). In front, in front, behind. Repeat this ad infinitum.
2. From the basic step, threes become a leaping step that eventually becomes the BIRD LEAP. Foot placement here is the same, but the first leg should kick out in a jump, and the second leg should kick the butt before landing in front.

Three Tunes, The (céilí): Jig, hornpipe, and reel time. Eight-hand figure dance. Performed to three tunes, Haste to the Wedding (jig), Leslie's Hornpipe, and The German Beau (reel). Originally from County Armagh.

Tip step (tip change): Tap forward like a treble, but instead of tapping back, step onto your foot. Step loudly though. Judges want that noise to be heard.

Toe (hit, toe hit): A hardshoe movement (though can be done with softshoe — gently) where the tip of the shoe hits the floor behind the leading leg. Really effective percussion.

Toe stands: Common since the first modern hardshoe could support them. To do proper toe stands, your hard shoes need to be broken in to the point where they can bend in half (toe to heel). Go up on your toes and balance yourself on the tip. There is no shank in hardshoes, so there is no support on the foot. You must have strong knees and ankles before doing toe stands, or you could seriously injure yourself. Toe stands are sometimes done with rocks in hardshoe. Some dancers perform trebles or other rhythmic percussion for short bursts.

Toe walks: Instead of walking flat on the ground, the dancer walks "en pointe" — on toe stands.

Top gentleman (céilí): In céilí dances, the top gentleman and top lady are the leading dancers in the group and therefore initiate certain figures, wear the competition number, or (most commonly of all) stand at the front of the stage in the line-up. You don't actually need to be a gent.

Top lady (céilí): In céilí dances, the top gentleman and top lady are the leading dancers in the group and therefore initiate certain figures, wear the competition number, or (most commonly of all) stand at the front of the stage in the line-up. You don't actually need to be a lady, but there are usually more ladies than gents to go around.

Traditional set (trad sets): Hardshoe dances "set" to and named for a piece of music, with established choreography created by dance masters and standardized by governing bodies. Set dances often have an unusual number of bars, especially in the "set" portion (or third step) of the dance. Historically, dancers only learn the first step (right and left foot) and first set (right foot), even though many of the dances have multiple steps and multiple sets. Some organizations require competing the left foot of the set, as well. CLRG does not.

Different organizations have different trad sets, with the core seven being: St. Patrick's Day, Blackbird, Garden of Daisies, Jockey to the Fair, Job of Journeywork, Three Sea Captains, and King of the Fairies. White Blanket, The Hunt, and Humours of Bandon are three additional trad sets you might see in some organizations. St. Patrick's Day is near-universally the first set a dancer learns.

Treble (shuffle, rally, emerly, batter): Take your shoe and make a tap in front of you. Repeat when going back. There are many different ways to treble, and it is the foundational movement of hardshoe. Unlike shuffles in tap dance (which is the same basic idea), Irish dance keeps trebles in front of the body with legs crossed and turned out from the hip.

Treble change: Do a treble (see TREBLE for more details), and then stomp onto your foot.

Treble jig (heavy jig, double jig): A hardshoe dance in 6/8 time. As with the hornpipe (see HORNPIPE for more details), the treble jig can be danced in fast/traditional speed for beginners and slow/contemporary speed for advanced dancers, requiring more movements and sounds to fill in the bars.

Treble reel: Treble reels are reels performed in hardshoe. A simple treble reel is often the first rhythm learned in hardshoe, as they are usually repetitive and stationary. They are standard performance showpieces and do not contribute to levels or grades, but can be performed in special/trophy dances at feiseanna (see TROPHY DANCE).

Trip to the Cottage (céilí): Reel Originally from County Armagh.

Turns: There are a lot of variatons on a theme. You can turn a quarter, turn a 180, or turn a 360. Turn with one foot or with both. Popular (for now) in high level and show choreography are turns in the air, usually no more than a 360 (let's hope we don't get a desire for more; we're not figure skaters). Some turns may have clicking (especially BACK CLICKS). Irish dancers do not spot.

Twist (swivel): A weaving movement of the feet. Can be performed going forward or backward.

Two-short-threes (short threes, back23s): Two SHORT THREES usually done at the end of a figure SIDESTEP or SQUARE.

W
Walls of Limerick, The (céilí): Reel time, progressive long dance, for four couples.

Waves of Tory, The (céilí) Tonnaí Thoraigh: Reel and march time, progressive long dance, for any even number of couples. Represents the famous and formidable waves off the rocky coast of Tory Island.

Whip (cut, cut-up, hop): Another basic, iconic movement where one leg bends across the front of the body with the goal of reaching the opposite hip with your toe. Whips do not end any lower than the knee. There should be no gap between the "whipping" leg and the leg that remains on the floor.

White Blanket, The (traditional set): Hornpipe (4/4). Not typically required by CLRG, but danced in other organizations.

Wide jump: Jumps where the legs extend out to the left and right instead of front and back/crossed. Usually these do not exceed a 45 degree angle or slightly more. Never a full split: we're not Highland dancers. Feet can be flexed or pointed, depending on what's trendy.

Absolutely Everything Else

A
Adjudicator: A judge of dance competitions and exams.

Ár Rincí Céilí (CLRG): The current version of Thirty Popular Céilí Dances. The study booklet (and DVD) for céilí dances. Used for multiple types of exams, including TMRF, TCRG, ADCRG, and grades.

Ár Rincí Fóirne (CLRG) Thirty Popular Céilí Dances: The old title of the study booklet for céilí dances. See the updated version, Ar Rince Céilí.

Antonio Pacelli: One of the most popular Irish dance shoemakers (and my sentimental favorite).

B
Belt: What male Irish dancers get to wear when they win a World Championship (CLRG). Kind of like a wrestling belt, shiny and all.

Blackout costume: An all-black ensemble in competition. Can be black slacks and a black shirt, a black dress or skirt/leotard combination worn with poodle socks or black tights. This style of competition dress began showing up in the 2010s and eliminates the expensive "bling" that has come to define solo costumes, though some blackout costumes do have sparkly accents. Lace sleeves are popular. Wigs, headpieces, and buckles may still be worn (depending on the rules), but natural hair is common. Blackout costumes can usually be worn at any competition, at any level, in addition to the BLACKOUT FEIS.

Blackout feis: First appearing (to my knowledge) in the 2010s, this is a feis that disallows fancy costumes and instead requires dancers to wear simple, black ensembles (see BLACKOUT COSTUME). This is supposed to allow the dancing come to the front instead of the costume. I support this idea while thinking it's kind of a shame Irish dance got to a point where blackout feiseanna were necessary.

Block: The toe piece (or tip) of the hardshoe where the dancer can stand en pointe. Many hardshoe tips are squared off to allow for better balance.

Blocking: Blocking a dancer is when one competitor makes absolutely certain they dance in front of the other competitor as often as they can. Doing this supposedly makes the adjudicator only pay attention to the dancer in front, and makes it virtually impossible for the steps of the other dancer to be seen, let alone judged. It may even throw off the dancer being blocked, causing them to mess up. Some blocking might even involve brushing or otherwise contacting the other dancer. While not illegal (up to a point), it should not be encouraged.

Book of Kells, The: The old go-to for Irish dance costume designs. Nowadays, there's (regretfully) less and less knotwork on solo dresses, but in the days of yore (pre-2000 especially), picking something from the Book of Kells was essentially de rigueur.

Buckles: Sometimes Irish dancers wear decorative buckles on their hardshoes. This is almost default for championship ladies today, and they're usually encrusted with crystals. In the past, simple rectangular "leprechaun" buckles were sometimes worn, as were ones shaped like shamrocks (sometimes with color accents). There were also eras where you didn't want to wear any buckles at all, hoping to keep attention away from your feet.

C
Camp Rince Ceol: The oldest and biggest US Irish dance camp, for children and adults, held throughout the summer.

Cape (brock, sash, shawl): A piece of fabric worn on the back of a costume. Styles have changed over the years, from two shoulders, to one shoulder, to flowing fabric secured with a brooch, to a stiff panel covered in designs or the logo of a school. Even boys used to wear one with their kilt ensembles. They've gone somewhat out of fashion on solo dresses in recent years. No idea why. They're so unique and Irish dance. How many other opportunities are you gonna have to wear a cape?

Carriage aids: Illegal in competition, these are (non-medical) devices or tricks used to enhance or maintain posture. One example is stitching the length of the sleeves to the dress to keep arms straight.

Ceol (roughly pronounced "kyole"): The Irish for music.

Charity dance (competition): Similar to a SPECIAL or TROPHY DANCE, these are typically lower key competitions at feiseanna, sometimes with costumes or a theme. The participation cost goes to a specific charity or individual.

Comerford, Stephen: A dance master who created the common traditional set dance choreography used across governing bodies. Increasingly, his sets have been joined by older sets created by JEREMIAH MOLYNEAUX. (see SET DANCE [SOLO HARDSHOE] or TRADITIONAL SET)

Comhghairdeas (roughly pronounced "co-HAR-juss"): The Irish for 'congratulations', often seen printed on certifications and awards.

Corrs: One of the top Irish dance shoemakers.

Crown: Something you either wear with your dance dress or earn if you top the women or girls' podium at Worlds.

D
Damhsa (roughly pronounced "dow-sa"): Irish for "dance". See RINCE.

Dance master: An historical term, these were itinerant teachers who spread Irish dance across Ireland in the 18th, 19th, and early 20th centuries. Two of the most enduring are JEREMIAH MOLYNEAUX and STEPHEN COMERFORD. Comerford's traditional sets are the most common variations, while Molyneaux's have enjoyed a resurgence in recent years.

Dancing at the Crossroads: An ironic instructional tape of the thirty main céilí dances, starring dancers from Riverdance's Lee Company in 1998. Before CLRG released their DVD (Ár Rincí Céilí), this was the studying aid for aspiring teachers. I remember watching parts of it with my TCRG in 2001.

Diochra.com: Unfortunately no longer with us. This was the website for Irish dance information, and none will match its thoroughness. It included everything an Irish dancer needed, would ever need, and then some — from history, to modern trends. In the past it included the infamous Webfeis (see WEBFEIS for more information), as well as many other interactive features. Also famous for the witty, "You know you're an Irish dancer when..." series. You can find the creator, Ashe (now an ADCRG!), at Digital Feis.

E
Elastics: Black elastic bands that wrap around hardshoes to keep them on securely. There are typically two widths, a narrower elastic that wraps around twice, and a thick elastic that wraps only once. In the past, it was common to see black elastics wrapped around the ankle in competition. Thick elastics can have a decorative buckle attached, as they typically cover the portion of the laces where a buckle would be threaded.

F
Fays: One of the top Irish dance shoemakers.

Féile (pronounced "FAY-leh"): A competition with only dancing.

Feis (pronounced "fesh"; pl. feiseanna "FESH-ah-nah"): An Irish dance competition. Translates to “festival.” The feis is the main avenue dancers use to advance levels. Feiseanna are held year-round, though more often in spring/summer, and are typically hosted by a local dance school. Historically, a feis included céilí (group) and solo step dancing, food, crafts, music, livestock, or language competitions. Some feiseanna still have art, baking, or music competitions, but these are not the focus. The plural is not feises, and it's time we break that bad habit. Gaeilge is its own language and does not pluralize the same as English!!!

Feises: Wrong and bad and frankly disrespectful misspelling of the plural for feis. This gets its own entry because I'm tired of seeing it. The plural for feis is feiseanna. The Irish language has rules! It's not English! Good on the people who at least try spelling it feisanna or feisianna. I see you and I know you know it's not feises.

Feis fixing: Deciding scores and/or placements before a competition has even begun. That is to say, cheating. In October 2022, the world was informed of the prevalence of (non-monetary) bribery and (non-performance) cheating in major Irish dance competitions and feiseanna. This news came as no real surprise to most competitive dancers and their teachers, who have long assumed that certain schools and teachers curry favor with certain judges and have their dancers ranked better, even if all dancers are of equal talent. In decades past, this presented itself as an apparent bias against transatlantic (or non-Irish and non-British) dancers, but has moved on to you-do-a-favor-for-me, I'll-do-a-favor-for-you. It must be stressed that there is no evidence any dancers were aware of what was happening. This is on the heads of the adults. The fall-out is still ongoing.

Feis style Irish dance: A term primarily used by festival Irish dance to refer to Irish dance seen at feiseanna. Essentially, feis style is the most common form of Irish step dance, regardless of whether or not the dancer actually competes. CLRG, the largest and oldest governing body, estimates they have about a quarter million dancers across the globe. Riverdance, Lord of the Dance, Trinity Irish Dance Company, and basically all other shows are comprised of "feis style" dancers, though Riverdance lead, Lauren Smyth, was trained in festival style. (See FESTIVAL DANCE TEACHERS ASSOCIATION or FESTIVAL IRISH DANCING.)

Feis tan (Toddlers and Tiaras): Since the late 2000s, it has become the standard for white female dancers to tan only their legs for competitions, often several shades darker than their natural skin tone. This occurs ubiquitously in the upper levels and the alleged justification is that it contrasts better with poodle socks and prevents dancers from being washed out. Except that competitions are not usually held under full stage lights in large opera houses, and no other dance form tans this way for competitions or performances. I think it's just another way to make money off dance parents.

Festival Irish Dancing: A less competitive form of traditional Irish dance. Festival dance emphasizes simpler, more traditional costumes, black slippers instead of ghillies, natural hair, and a more historical technique (slightly less turn-out and slightly less crossing of the legs, but still high on the toes). It can be slower paced, especially their slip jig, and has more flexibility movements and graceful turns. Kind of like distilling Jean Butler into a whole style. Overall, there are fewer showy tricks than in traditional Irish dancing, but mastery of body control and position is key. This variation has been formally recognized since 1971, and has strong roots in Northern Ireland. See FESTIVAL DANCE TEACHERS ASSOCIATION.

Festival pumps: The softshoes worn in festival style Irish dance. These are typically black canvas slippers with black elastics to secure them.

Figure dancing championships (CLRG Worlds): The own choreography portion of the team dances, ranging from eight to sixteen dancers. Must be danced using traditional steps you would see in ceili dancing, and should portray an Irish theme. The senior championship, which predates the creation of the Worlds, is considered one of the most prestigious awards in Irish dancing.

Fleadh: Typically an Irish music festival (and sometimes competition), but also a general Irish festival where you might find some Irish dancing.

G
Ghillies (softshoes, pumps, pomps, light shoes, gillies): The standard black leather softshoe worn by female dancers. They are distinctive in appearance, lacing up from the toe towards the ankle. Soles can be leather or suede. Ghillies are used for all the softshoe dances such as the reel, light jig, slip jig, and single jig. In addition to solo dances, softshoes are normally worn for céilí dancing. The favored style of the ghillie changes from year to year and trend to trend.

Globe: The shape of the trophies at the World Championships (CLRG). Michael Flatley donated the current array of hardware for the best dancers in the world. He would know something about that, being the first North American World Champion.

Grade exam (CLRG): Introduced in 2014 to enforce foundational skills in Irish dance, there are twelve grades in total, plus an optional Preliminary grade. Separate from formal competitions and independent from competition levels, grade exams are comparable to compulsories in other sports by stressing the basics across all technical levels, and reinforcing knowledge of solo and céilí dances. After the completion of the grade levels, the dancer is awarded the Diploma of the Irish Dancing Commission. As of 2018, all TCRG and TMRF candidates must complete all grade exam levels before sitting for the teaching exam.

H
Hardshoes (hornpipe shoes, heavy shoes, jig shoes): These black leather shoes consist of fiberglass, plastic, or wooden tips and heels. They have laces and a buckled ankle strap. The soles are leather or black suede. Shanks are not common and advanced dancers prefer a soft arch for quick breaking-in. Today, it's de rigueur to wear decorative buckles in competition, though trends come and go. Metal tips and heels are forbidden, though professional shows might use them.

Heel (shoe part): The heel of the hardshoe or reel shoe. By regulation, they must be 1.5 inches tall and contain no metal, except for the nails that keep them on.

Heavies: One of the terms for hardshoes.

Heavy round: In championship competitions, the heavy round is the hardshoe round. This is either a treble jig or a hornpipe.

Hullachan: One of the top Irish dance shoemakers. Over the last several years they have become the favorite for ladies softshoes for high level dancers.

I
Independent (unaffiliated): A dance teacher or school that is not officially affiliated with any organization. See OPEN PLATFORM.

Inishfree: One of the top Irish dance shoemakers.

Irish Points: This is how rankings work in championship competitions (ie, competitions with three or more adjudicators on a panel). To keep things from becoming extremely confusing, raw scores are out of 100 for each dancer from each adjudicator. These points are converted into an equivalent amount of "Irish points" that then determine the final results. This is meant to prevent one or two biased adjudicators (depending on the size of the panel) from tipping results. I recommend an internet search to give you an in-depth breakdown.

Irish tap: Often a case of mistaken identity, Irish tap is the term used by teachers attempting to cash in on the Riverdance phenomenon by offering a mixture of traditional tap and Celtic tunes. Beware the school that offers this.

K
Kilt: A pleated "skirt" sometimes worn by boys and men. They were the de facto male costume for most of the 20th century, when trousers took over due to the influence of Riverdance and Lord of the Dance.

Kick pants (bloomers, dance pants, dance briefs, spankies): The underwear that covers your actual underwear when you dance in a dress or skirt.

L
Lights/light shoes: One of the many terms for softshoes.

Light round: In championship competitions, the light round is the soft shoe round. Only reels and slip jigs are performed at this level.

Lilt/lilting: Especially before portable music players, dance teachers would sing the steps. This practice is still done because it works really well for remembering steps and their rhythms.

M
Major: A major is a major competition, usually referring to a regional (oireachtas), a national, or a worlds.

Molyneaux, Jeremiah: A dance master of the late 19th and early 20th centuries whose set dance choreography has increased in popularity since the 2010s. Some governing bodies don't yet allow his choreography in competition, while others require knowing his dances as well as the more common COMERFORD sets for certification. (see STEPHEN COMERFORD, SET DANCE (SOLO HARDSHOE), and TRADITIONAL SET)

N
Non-certified (also, independent, unaffiliated, uncertified, unregistered, etc.): A dance instructor who has not received their certification from any organzation. This does not mean they are not qualified to teach, as it's very common to have uncertified teachers at certified schools. You only need one TCRG. But if the school has no certified teachers at all, students can only compete in open platform competitions (see OPEN PLATFORM or INDEPENDENT). However, these same students can also dance with a certified school simultaneous to the non-certified one. (In the days post-Riverdance, you might have run into teachers who were not real Irish dance specialists, only learning from videos or after taking a class or two. This fad seems to have waned and a non-certified teacher is less of a risk.)

Number card: A dancer's individual competition number, worn throughout a feis or major. Placement has changed over time and can also vary depending on the costume. For many years, the number was worn around the waist on the ladies. Now it's clipped on the skirt. For team dancers, it's usually on the back or front of the top gent.

O
Oireachtas (pronounced "oh-ROCK-tus," though there are different dialects; pl. oireachtais): Sometimes referred to as "O-Rock" or Regionals. This is a regional competition and world/national qualifier. Only the top level solo dancers and teams are sent. Historically, before regions were established in the 1970s, the national competition was the main oireachtas. In North America, it was around 1974 that the first regional competitions began to take place, not long after Ireland's regions were defined.

Open platform: An organization, school, or event open to all dancers, regardless of affiliation. For example, CLRG or Comhdháil only allow affiliated dancers to compete at their events (closed platform). Open platform organizations can all attend each other's events. The oldest open platform organization is Cumann Rince Náisiúnta (CRN), founded in 1982.

Today, there are numerous open platform organizations, most of them cropping in the wake of Irish dance's global explosion. Reasons for this are numerous and vary from group to group. Open platform dancers can achieve just as much technical prowess as closed platform dancers, but perhaps with fewer politics and pressure.

Over-crossing: The typical form expected of top level Irish dancers today. Instead of simply crossing one's legs at the knee, they must continue to push the legs out until there is essentially a wide diamond shape below the knee to the ankle.

P
Panel: Either the adjudicators for a championship or exam, or a part of a solo dress. For decades, solo dresses typically had one big panel in the front (sometimes split into two), with smaller side panels. These got quite stiff and geometric into the 2000s. Then there was a trend to have numerous smaller panels. Today, the panels are extremely short and there is often only one at the front and no others. Who knows what will happen next!

Parade of Champions: A skipping entrance and then step down the line from all age level winners at a competition. A time to show off without being judged (by an adjudicator, anyway). This is most common at major competitions, but I've also seen lower levels at local feiseanna get to do them.

Perpetual trophy: Trophies that must be returned to the original competition or organization, usually a year after the win.

Poodle socks: White socks primarily worn for competition. They are designed to stay up on the leg better (but you'll still need sock glue), and the texture is what gives them their distinctive name. Popular poodle sock length changes from year to year. They have been worn all the way up to below the knee, to just covering the ankle. Sometimes they're adorned with rhinestones, sparkles, or ribbon. I've also seen these referred to as bubble socks.

Primary qualifier: Typically an oireachtas (regional competition), this is the main qualifier for the World Championships (CLRG).

Princess dress (skater dress): This was the term that referred to Riverdance and Lord of the Dance style dresses with short skirts and tight bodices, often with long sleeves and an open neckline. They were not allowed to be worn in competition. Today, though, some variations are allowed.

R
Recall: To recall is to score enough combined points in your first two rounds to be called back to perform your final round. From there, the winners are chosen. This is for championship competitions. Can also be the catch-all term for scoring high enough to place at a majors in a non-solo championship.

Reel shoes: The boys' softshoe (see GHILLIES and SOFTSHOE), like a jazz shoe with a hardshoe heel attached (see HARDSHOES). Boys perform heel clicks and other rhythmic movements in their softshoe dances.

Regionals: See OIREACHTAS

Restyling: Formerly referred to as a transfer ban, this is the period after a dancer transfers to a new school and cannot compete. During this time, typically about six months, the dancer will learn new choreography.

Rince (pronounced "rin-ka"): Irish/Gaeilge for "dance". See also, DAMHSA.

Riverdance: The show that launched Irish dance across the planet. Originating as an intermission act during the 1994 Eurovision Song Contest, the seven minute segment starring Jean Butler and Michael Flatley and a troop of several dozen dancers, was soon expanded into a full-length show. At its height, there were multiple touring groups, each named after a river in Ireland. Though the Riverdance zeitgeist has cooled, the show has maintained its place in pop culture.
ALSO
A case of mistaken identity. The term used to describe Irish step dance by those who don't understand that Riverdance is a show, not a verb, and combines not just Irish step, but flamenco, tap, and Russian folk ballet.

Riverdancing: A case of mistaken identity. This term is often used to describe the form of dance popularized by the show Riverdance by those who aren't familiar with Irish step dance. A word to the wise: use this term and most dancers will immediately flog you with their hardshoes. The correct thing to say is "Irish dancing" or "Irish step dancing".

Rutherford: One of the top Irish dance shoemakers.

S
Sash: Often given to the top finalists in a competition, whether at a feis or a major.

School costume: A dance school's uniform, worn at lower levels in competition, in teams, or in performances. Can be elaborate and on-trend, or simple and timeless. Some schools have different costumes for different ages, levels, or types of competition.

School feis: A type of feis open to only the host school. Can be a chance to allow students to compete who might never try it otherwise. See FEIS.

Secondary qualifier: The second event where a dancer can qualify for the World Championships (CLRG). Usually a national competition, and you must have danced at a primary qualifier first.

Set round: In championship competitions, the set round is the third and final round and consists of the set dance. At major competitions, a dancer must RECALL to perform this round. Younger dancers perform traditional sets or a treble jig rhythm, and older dancers perform a non-traditional set dance.

Siamsa: The forerunner of Irish dancer websites. Was packed with humorous information about the world of Irish step dancers. Some highlights included Soft Spike stories (see SOFT SPIKE CURLERS for more information).

Siopa Rince: The former name of a popular dressmaker, now John Carey Design.

Skater dress (princess dress): A style of competition costume with a loose skirt and tighter fitting bodice. These are worn for many reasons, including beginner costumes, adult costumes, between solo costumes, and blackout feiseanna. They can be dressed up with diamanté and designs, or plain black.

The Slightly Insane Teaparty for Webfeisers with Diaries: The former playing ground where certain Webfeisers (see WEBFEISER for more information) would meet and plan what happened in their Webfeis (see WEBFEIS for information) dancer's diaries. Was popular between 2001 and 2002. Visit it here, SITWD. (2022 update: Oh no, it appears the original board was spammed and the content lost. Try a Wayback Machine capture from 2004.)

Sock glue: Does what it says on the tin. Designed to keep your poodle socks up. Used to be more necessary when poodle sock lengths were higher. The tell-tale ring of lint below the knee was the predecessor of the feis tan.

Soft Spike Curlers: A brand of soft, foam curlers created for Irish dancers and once used a lot in competition. Visit their site here: Soft Spike Curlers.

Specials: Specials are typically extra competitions that don't contribute to leveling or qualifying. They can be as simple as a treble reel step down the line, or akin to a dance drama with costumes and themes. Often, only one step is performed. At major competitions, traditional sets are offered as specials. A freestyle dance category is offered as of Worlds 2023 (CLRG). See also, TROPHY DANCE or CHARITY DANCE.

Split, The: A dance movement, but not a dance movement. This refers to the formal separation of Comhdháil from An Coimisiún (CLRG), which occurred in 1969.

Syllabus: A list of the competitions in a feis or major, sorted by name, age category, (sometimes) gender, and level, as well as the rules of the feis, sponsors, and ads. Use this to figure out who is doing what and when.

T
Tip (shoe part): The toe piece of the hardshoe, made of wood or fiberglass. Metal attachments are disallowed.

Trophy dance (specials): At a feis, this is usually a larger than normal competition where the prize is a trophy rather than a medal. Meant to be fun and a bit of showing out, as they do not typically contribute to leveling. Dances can be softshoe or hardshoe, but treble reel trophy dances are popular. Unlike most competitions, dancers perform one step, solo, down the line, with all the dancers lined up in a U shape on the stage. Beginners through Champions have level appropriate trophy dances.

Turn out: The external rotation of the legs at the hip. Basically, pointing one's toes away from the body and towards opposite corners of a room. This is required of all Irish dancers, and the higher the level, the more dramatic the turn out should be. This also makes heel clicks a lot easier.

V
V-step: A warm-up exercise where you cross the room on your toes with your feet turned out and crossed at the knee. Just a basic drill to enforce good form and technique. Can be done forward and backward.

W
Webfeis (the bed of insanity): An online role-playing Irish dance game that brings with it total insanity created by Ashe in 2001.

Webfeiser: Technically, any participant in Webfeis. It used to describe one who has become insane either by having a dancer diary, or by simply meeting Laurie, Erin, or Sarah (that'd be me). Those three have since retired from Webfeis, and much of the insanity waned.

White tape/white straps/white laces: For some reason, higher level dancers put white electrical tape all over the straps and tops of their hardshoes in competition. This practice first started showing up around 2010 with simply the strap being covered, and soon led to white laces in softshoes, as well. Now, some shoes come with white straps or other white leather pieces. This is only done if poodle socks are worn. I find the taping looks like the dancer is wearing big old spats, so I don't know why it became popular. Embrace the shape of your hardshoes! Until the mid-20th century, girls often danced in Mary Janes. Is that what you want?

Wig: From the late 90s on, female Irish dancers have worn half-wigs in competition. Why? Because starting in the 1980s, curly hair became the competition standard, and people are always looking to make some money. Why not invest in wigs and save dancers curling their hair? The style of wig changes at a constant rate, from rather natural ringlets in the early years, to layers of shiny sausage curls in the 2000s, to the child-pageant-on-acid look of today.