strathspey@strathspey.org:1126

RSCDSSD

Jean Milligan

Feb. 28, 1995, 9:06 p.m. (Message 1126, in reply to message 1113)

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.


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