Analysis: Despite Irish dancing's progress, it's still a predominantly female activity, with boys and men largely choosing to opt out
Irish dancing has come a long way. The days of heavy tweed kilts, and "medals on me chest", to quote the fabulous Maureen Potter, have surrendered to a slick, highly competitive and internationally recognised dance genre. Over 30 years since that game-changing night at Eurovision 1994, Irish dancing has become part of the global cultural zeitgeist, with references to "Riverdancing" popping up everywhere from The Simpsons and Friends to A League of their Own.
More recently, celebrated social media influencer Mysta Crooks has posted a series of videos, marvelling at Irish dancers whom he calls "whimsical skedaddlers." Even Beyonce’s mammy Tina Knowles is a fan, praising the "brilliant" performance of US-born Irish dancer Morgan Bullock jigging out to Queen Bey hits Freedom and Texas Hold ’Em.
But for all this progress and positivity, Irish dancing is still a predominantly female activity, with boys and men largely choosing to opt out. We’re not alone in this predicament. Many Western dance forms such as ballet, contemporary and tap dance are also dominated by females. There is a vast body of research indicating that these genres are perceived as effeminate, with bullying and stigmatisation commonly experienced by male dancers.
There has been no research done of the lived experience of boys and men in Irish dancing, but new research (which is currently under review), has revealed some fascinating findings. Feedback from over 100 male current and former Irish dancers from around the world found a host of benefits derived from Irish dancing. Chief among them was the enormous pride in engaging in a uniquely Irish skill that reflects the dancers’ heritage.
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From RTÉ Archives, Clíona Ní Bhuachalla meets dancers taking part in the World Irish Dancing Championships in Cork in 1990 for Jo-Maxi
Participants also reported the satisfaction derived from exhibiting their power, fitness and strength – comparable with any elite sport - in a way that distinguished them from their female dancing peers. The artistic drive to create new steps, rhythms and movements was also reported as an important benefit and motivator for these dancers.
Another major plus was the life-long friendships, and camaraderie shared by male dancers. Many participants in this research spoke about close ties, formed with competitors and peers, that have lasted for decades. Finally, the greater professional and performance opportunities available to boys/men in comparison to girls/women in Irish dancing were discussed. Given their relative scarcity, pathways to professional opportunities and starring roles are comparatively common and accessible for the gentlemen.
But it's not all spotlights and glory for these dancers either. Multiple challenges were also identified. It was roundly lamented that the skill, dedication and talent required to succeed in Irish dancing was not recognised or appreciated in the public at large. Compared to sports. Irish dancing was seen as "something girls do", with male dancers referred to as "girly" or "sissies."
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From RTÉ Radio 1's Oliver Callan Show, Dr Róisín Cahalan discusses this article
As with other genres, verbal, and occasionally physical bullying, homophobic slurs and stigmatisation were widely encountered. Typically, this abuse occurred in the early teenage years, coinciding with entry to secondary or high school and came from peers outside of the dance world. It usually diminished by the later teen years, and the worst effects were mediated by strong family support and close bonds with other male dancers in their schools or locality.
Many participants also complained about the rigidity of competition that is a hallmark of Irish dancing. In particular, certain dances such as slip-jigs, being unavailable to males; limits on minimum number of boys required for team dances, thus excluding boys who want to participate; stereotypical, outdated gender roles in performances; and just the general pressures, lack of objectivity and results-driven disappointments that are inherent in competition.
Participants spoke about the inconsistent ways in which male competitors are adjudicated, either being considered generally less accomplished than the girls, or elevated unfairly by "boy points" in a well-intentioned but ultimately unfair attempt to keep boys in the game.
The participants were asked about their ideas to address some of these barriers and challenges. The most common suggestion regarded the importance of male role models to provide inspiration, guidance and support. There are already several well-known dancers filling this role, including the Gardiner brothers, the men of Cairde, Kerry’s David Geaney and others, whose importance cannot be overstated. Relatedly, access to male teachers was identified as central to developing a male style, appropriate choreography, and a lived understanding of the male Irish dancer experience.
Boy-only classes, including workshops that involve dancers from different schools and organisations, were also touted as a way to build community and retain these dancers. Such an approach would require changes to the rules of some Irish dancing organisations and may face headwinds. On a similar note, more avenues to perform outside the strict confines of competition, showcasing creativity and fresh ideas would be welcomed, and potentially embraced by a new generation of male dancers.
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From RTÉ Radio 1's Marty Morrissey Show, interview with Galway dancing brothers Michael and Mathew Gardiner
Lastly, broader and more male-centric marketing of Irish dancing was strongly endorsed as an important way to attract people from beyond traditional target audiences. This included using novel strategies such as promotion of the physical benefits of Irish dancing for athletes of other sports and showcasing the men of Irish dancing more prominently.
Despite all the occasional bickering about wigs, tan and make-up, Irish dancing is beloved and embraced by people all over the world. Greater male participation is central to sustaining out presence in the world pantheon of great dance genres. This work perhaps is a step in the right direction.
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The views expressed here are those of the author and do not represent or reflect the views of RTÉ
