Thread
Index
Jean Milligan
James Cameron Orr Jim
Feb. 27, 1995, 5:50 p.m. (Message 1113)
Date: Fri, 24 Feb 1995 13:17:37 -0500 (EST)
From: "Andrew J. Smith" <xxxxxxx@xxxxxxx.xxx.xxx>
>There seems to be a trend nowadays, particularly in North America, to
>trash Jean Milligan and everything she did. I realize that there are
>criticisms to be made of many aspects of the RSCDS, but remember that
>without Jean Milligan we would probably not be having this conversation,
>or deriving this much pleasure from our dancing.
>
> Just a thought.
>
> Andrew Smith
I agree; I think it's a reaction to the reverence with which she was
treated - at least on her North American tours. I spent some time
chatting with her in the 1960s when she visited the Boston area.
As someone from "the old country" who knew well one of her contemporary
friends/rivals in the Scottish gym-teacher scene (Aunt Jessie Campbell),
we at least had something other than SCD to talk about. I found her to
be a very likeable, intelligent, warm person. On the dance floor as an
instructor, though, she came across as a bit authoritarian in an audience
of people, some of whom were not into accepting authority.
We owe her a lot.
I'd really like to hear impressions of her from people who knew her
well.
Is anyone aware of scholarly work done on the early days of the RSCDS,
probably before it was "R"? Who was Mrs Stewart of Fasnacloich?
Where is Fasnacloich anyway?
Jim Orr
Newfoundland
Jim Orr asks for recollections of Miss Milligan so here are 2 of my favorites. I first met her on her first trip to the US. She was tutoring prospective candidates in Boston and I was a budding dancer not accustomed to customs other than those in New England. We took Miss M to a cafeteria in Harvard Square for lunch and she loaded her plate with mashed potato, vegies, and other things. She proceeded to pile potato on the underside of her fork, which she had turned over, then with that as a good base, added vegies and other things, and shoved it all into her mouth. I watched in fascinated horror at what was to me a rude display of table manners by such a noted person. Only years later did I discover that that was standard technique for many Europeans. She thought the cafeteria was pretty neat. Years later I had the pleasure of playing for her at candidate exams. A slim, 30th, competent fellow was being examined, and as he went back and forth and up and down the rows of stoges she commented to the other person at the table on how well his kilt fitted and what a good swing it had. Sort of the equivalent, in a genteel way, of 'Nice buns." Never a comment on his teaching abilities. Sylvia Miskoe
I apologize in advance for the length of this posting, however, some of these ideas have been brewing in my brain for quite a while. I have been researching the history of SCD for a few years now and intend to present my conclusions in published form. To be blunt, anticipated criticism from the establishment has contributed to my procrastination. So this is perhaps a preliminary foray into the void and an attempt to overcome fears. I first met Miss Milligan when I was 16 years old and even then I realized how profound her personality and influence was. It has taken much time and soul searching to accept the notion that I disagree with some of her decisions. But I disagree with respect and admiration for what she did and for the legacy she left. I cannot accept that respectful differences of opinion are heretical. The current discussion about Jean Milligan, her personality, influence and scholarship reflects the inevitable re-evaluation that occurs when a strong and charismatic leader has been gone for some years. Her influence certainly did not end with her death in 1978, however, we now have a generation of dancers who had no opportunity to meet this awesome and powerful personality. It is perhaps not surprising that people might now question some of her conclusions and decisions. This is not necesarily a negative process. Dancing changes constantly and one of my growing concerns as a teacher/dancer/researcher is encountering the attitude that there is only one way to do "fill in the blank", or we cannot change the way we teach "fill in the blank." We dance and teach based on many of Jean Milligan's conclusions, and many of them have proven to be succesful, popular, and worthwhile. Her profound influence as a teacher and formulator of 20th century Scottish Country dancing cannot be underestimated. As has been noted, she could command a roomful of dancers with the wave of a hand. But to accept without question or investigation, worse yet to ignore historical evidence, is not worthy of our dance form and its complex and fascinating history. We have an enormously successful modern form of Scottish Country dancing. For that we have to thank Miss Milligan, and others. But it evolved from dance forms older and different than what we practice today, and to say that today's is "correct" to the exclusion of all others leaves us without the chance to learn and adopt from the past. Many of our accepted methods were presented to us as "correct" supposedly from historical evidence and in fact were modified without being so noted. While it is not possible to detail the evidence in this posting, readily available historical evidence can show that a number of our dance figures were amended when adopted by the Society (based usually on Miss Milligan's conclusions). But, corner/partner/corner/partner, the poussette, double triangles, among others, have been danced differently in the past. While there may have been good reason for the changes, I am chagrined by the fact that none of the early Society books admit to the reconstruction. The dance and figure instructions are presented as though no modifications were made. The briefest of citations at the bottom of the dance instructions would lead one to the conclusion that the dance is presented as it was in the old books/manuscripts. Not so. Many changes were made, at times there is virtually no resemblance. Perhaps more problematic is the significant adjustment to the flow of a dance when a figure was adopted in a form very different from the earlier versions. One of the clearest is the origins and changes to the figure Double Triangles. This needs it own article and, while I have presented my conclusions at several workshops, it has yet to be organized in written form. Mention has been made of the work of Thomas and Joan Flett, Hugh Foss, Hugh Thurston and others, and of the fact that their writings and conclusions are ignored by, or unknown to, many RSCDS teachers. I agree that this is omission is troublesome. From comments by teachers and dancers in Scotland who were active during Miss Milligan's time it appears that she brooked no dissention. If you disagreed with her you were not welcome into "the body of the kirk." Hugh Thurston appears to have little disagreement with accepted practice, yet even his important book "Scotland's Dances" is omitted from the bibliography in the latest RSCDS manual. The Fletts, Allie Anderson, and Hugh Foss chose to disagree with many of Miss Milligan's conclusions and the acrimony is legend. This is not scholarly nor collegial. Even today, those who dare to find any fault with Miss Milligan are subject to angry responses (I am aware that what I have to say here will not please some). Why should this be necessary? Can we not praise her for her accomplishments and her contributions to all of our lives and still respectfully disagree? She was an outstanding teacher, a physical education teacher. That fact, and the methods she chose to train generations of physical education teachers, affected the manner and technique we dance today. Not necessarily a bad influence, but our dancing style is much more athletic than it appears to have been historically. We can accept that, and then look at the history for alternative styles. Miss Milligan was not a scholar nor academically trained. She relied on instinct and oral history and came to her own conclusions. Those conclusions were accepted and institutionalized by the RSCDS and are now our methods. But if curious dancers look back at the old books, dance manuals, and publications and find information that differs, is it unacceptable to ask, question, and re-consider? I sincerely hope not. With apologies again for the length of this posting I have appended a file containing a selected bibliography I have compiled on the history of Scottish Country Dancing. It includes several articles by the Fletts from the Journal of Scottish Studies. They have never been cited by any RSCDS source that I am aware of, and they are a fascinating look at the history of our dancing. I would also note the book reviews of the two well-known George Emmerson books. While Emmerson is listed by the RSCDS bibliography and his work must be read by any serious student of SCD history, there appear to be some questions about his research and conclusions that one needs to note. Selected Bibliography of sources on the History Of Scottish Country Dancing Anderson, Allie, and John M. Duthie. A Complete Guide to Scottish Country Dancing. Commemorative edition. Kitchener, Ontario: Teacher's Association (Canada), 1990. Emmerson, George S. Rantin' Pipe & Tremblin' String: A History of Scottish Dance Music. London, Ontario: J.M. Dent, 1971. Emmerson, George S. Scotland Through Her Country Dances. 2nd ed. London, Ontario: Galt House, 1981. Emmerson, George S. The Scottish Country Dance (A History). London, Ontario: Galt House, 1992. Emmerson, George S. A Social History of Scottish Dance: Ane Celestial Recreatioun. Montreal, Quebec, and London, Ontario: McGill-Queen's Univ. Press, 1972. Flett, Joan. Social Dancing in England from the 17th Century. Leaflet No. 18. London: Vaughan Williams Memorial Library, English Folk Dance & Song Society, n.d. Flett, Joan, and Thomas M. Flett. "The History of the Scottish Reel as a Dance-Form: I." Scottish Studies: Journal of the School of Scottish Studies, Univ. of Edinburgh 16:2 (1972): 91- 119. Flett, Joan, and Thomas M. Flett. "The History of the Scottish Reel as a Dance-Form: II." Scottish Studies: Journal of the School of Scottish Studies, Univ. of Edinburgh 17:2 (1973): 91- 107. Flett, Joan, and Thomas M. Flett. "The Scottish Country Dance: Its Origins and Development: I." Scottish Studies: Journal of the School of Scottish Studies, Univ. of Edinburgh 11:1 (1967): 1-11. Flett, Joan, and Thomas M. Flett. "The Scottish Country Dance: Its Origins and Development: II." Scottish Studies: Journal of the School of Scottish Studies, Univ. of Edinburgh 11:2 (1967): 125-147. Flett, Joan, and Thomas M. Flett. Traditional Dancing in Scotland. 1964. London: Routledge & Kegan Paul, 1985. Flett, Thomas M. Book Review of A Social History of Scottish Dance by G. S. Emmerson. Scottish Studies: Journal of the School of Scottish Studies, Univ. of Edinburgh 18 (1974): 136- 139. Foss, Hugh. Notes on Evolution in Scottish Country Dancing. Dumfries: S. & U.N. Ltd. (Standard Office), 1973. Foss, Hugh. Roll Back the Carpet. We Agree to Differ. Castle-Douglas: Forward Press, n.d. Hood, Evelyn M. The Story of Scottish Country Dancing: The Darling Diversion. Great Britain: Collins, 1980. Lockhart, G. W. Highland Balls and Village Halls: A Look at the Scot and His Dancing. Barr, Ayrshire: Luath Press Ltd., 1985. MacFadyen, Alastair. An Album For Mrs. Stewart. Edinburgh: RSCDS, 1988. MacFadyen, Alastair and F. H. Adams. Dance With Your Soul. Edinburgh: RSCDS, 1983. Milligan, Jean. The Scottish Country Dance. Festival Booklet No. 14 (1924). Facsimile Reprint. Edinburgh: RSCDS, 1986. Milligan, Jean C. and D. G. MacLennan. Dances of Scotland. New York: Chanticleer Press, 1951. Munro, Ailie. Book Review of Rantin' Pipe and Tremblin' String: A History of Scottish Dance Music by George S. Emmerson. Scottish Studies: Journal of the School of Scottish Studies, Univ. of Edinburgh 17:1 (1973): 85-87. Peel, Barbara. Dancing and Social Assemblies in York in the Eighteenth and Nineteenth Centuries. Surrey: Univ. of Surrey, National Resource Center for Dance, 1986. Royal Scottish Country Dance Society. The Manual of Scottish Country Dancing. Edinburgh: RSCDS, 1992. Sharp, Cecil. The Country Dance Book, Parts 1-6. 1909, 1934. Carshalton, Surrey: H. Styles, 1985. Thurston, Hugh. Scotland's Dances. Reprint edition. Kitchener, Ontario: Teacher's Association (Canada), 1984. Prepared by: Marjorie McLaughlin 4754 Vista Lane San Diego, CA 92116 (619) 280-5855 (619) 280-5933 (fax) xxxxxxx@xxx.xxx
On Tue, 28 Feb 1995 13:12:12 -0500 Marjorie McLaughlin said: >I apologize in advance for the length of this posting.... and then followed that with one of the most informative contributions to this list which I have seen. Don't apologise Marjorie, and thanks very much for sharing your extensive knowledge with us. I hope to have time one day to look into some of the books in your bibliography, the existence of which I would probably never have discovered otherwise. Joe.
My thanks too, to Marjorie McLaughlin, not only for an extremely informative and helpful contribution to this network (Anonymous expressed it well), but also for being willing to look at Scottish country dancing in the context of the history of dance, and not as though it all began in 1923. Again, thank you! Helen Welford xxxxxxx@xxxxx.xxx
I see the Milligan-bashing that Andrew Smith refers to as a blip on the screen of a larger prevailing attitude in society -- that of a society still trying to overthrow the legacy of a rigid social structure. As author Jacques Barzun notes, successive generations usually regard those just past "with hostility when close in time, but with increasing fondness as great issues lose their power to threaten established ideas and become the "truth" in their turn. It is the situation of the children toward the revered grandfathers." There is another curiosity which is distantly related to the Milligan-bashing theme. I read with interest in "Scottish Fiddlers and their Music" about the decline of Scottish dance in the early 1800s. In this book, the author points out a decrease in interest in Scottish dancing between the end of the Gow era (c.1820) and Scott Skinner's golden years (c1880-1927). What the author does not point out is that this chronology corresponds to the radical shift in larger musical circles from Clasicism to Romanticism. What this has to do with Miss Milligan follows. The classic school emphasises order, harmony, balance, form and structure (such as Bach, Mozart) while the Romantic school emphasizes the individual, subjective, irrational, imaginative, personal, spontaneous, emotional, visionary and transcendental (such as Wagner). While I must emphasize that I am not a musicologist or social historian, it seems to me that there is a parralel between the changing values of the 1800s and the changes in attitudes between the fifties and today (as the pendulum swings from "classic" to "romantic" values). Judging by the prevailing winds and the fact that she was a product of her time, Miss Milligan can't help but be on the firing line Anyone care to unpack this? Etienne Ozorak Meadville, PA USA
Etienne Ozorak writes: > As author Jacques Barzun notes, successive generations > usually regard those just past "with hostility when close in time, > but with increasing fondness as great issues lose their power to > threaten established ideas and become the "truth" in their turn. It > is the situation of the children toward the revered grandfathers." > Maybe I need to parse this ten more times, or read the passage in context, because I do not understand this. > > I see the Milligan-bashing that Andrew Smith refers to as a blip on > the screen of a larger prevailing attitude in society -- that of a > society still trying to overthrow the legacy of a rigid social > structure. One person's "Milligan-bashing" is another's "Milligan-appraisal" or "Milligan-reappraisal", or perhaps an attempt to achieve some "perspective (long overdue?)". If this is an unworthy thing to do, why is it? If it is a worthy thing, why use a term like "bashing"? [ I think we should be told :-) ] If someone is sychophantic about Jean Milligan, then it will be "bashing" perhaps. If they are moderate or inquisitive about Jean Milligan then it is more likely to be honest and appropriate enquiry. If someone feels personally affronted and threatened by such enquiry, I think they might review their own connection to the icon and ask themselves why it is so important to them and why, if this icon is somehow "diminished", they will feel diminished too. Why do they prefer the "faith" to the "knowledge"? I am curious about this. All best *D *David Hills [Opinions mine own; facts are everybody's] ========================================================================= "Doctrine is the guidance to be followed in the absence of other intelligence, including human" - or the usual corollary: "No written procedure grants permission to do something dumb". Blind faith in your leaders, or in anything, will get you killed. --- Bruce Springsteen =========================================================================