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26-631: Though the Festival offers contests (traditional band, neo-traditional band, fiddle, old-time banjo, and flatfoot dancing ), square dancing , several concerts and workshops, and other organized activities such as yoga, basket making, and hymn singing, the heart and soul of the Festival is found in the campsites, where old time music provides a foundation for all kinds of straight-off-the-strings acoustic music (including Americana, cajun, Celtic, swing, bluegrass, Dawg, and even reggae), which in turn often spontaneously generate impromptu dancing and other festivities by

52-425: A 8 time. Musically, the single jig tends to follow the pattern of a quarter note followed by an eighth note (twice per 8 bar), whereas the pattern for the double jig is three eighth notes twice per 8 bar. Hop jigs are the fastest of all jigs next to light jigs, but the term hop jig causes some confusion, as some people use it for a single jig, while others use this term to refer to

78-410: A few being Drunken Gauger, Blackthorn Stick, The Three Sea Captains, and St Patrick's Day. Two types of treble jigs are performed at feiseanna: the traditional and non-traditional (slow) treble jigs. Beginners will do a treble jig at traditional speed (92 bpm), while more advanced dancers will dance the non-traditional (slow) treble jig at 72 bpm. In 19th-century America, the jig was the name adopted for

104-423: A form of step dancing developed by enslaved African-Americans and later adopted by minstrel show performers. Danced to five-string banjo or fiddle tunes in 2 or 4 metre played at schottische tempo, the minstrel jig (also called the "straight jig" to distinguish it from Irish dances) was characterized by syncopated rhythm and eccentric movements. Jig dancers employed a repertoire of "hits" on

130-463: A jig is two eight-bar parts, performing two different steps, each once on the right foot, and one on the left foot. As with most other types of dance tunes in Irish music , at a session or a dance it is common for two or more jigs to be strung together in a set, flowing on without interruption. The following distinction is primarily observed in modern competitive Irish dance and should not be confused with

156-466: A tune in 8 time. Among the latter, some do not distinguish it from a slip jig, while some reserve the term to a slip jig variant that has special characteristics, in particular an emphasis on quarter note – eighth note pairs. Treble jigs (also called the hard or heavy jig) are performed in hard shoes, and also to a 8 time metre. They are characterized by stomps, trebles, and clicks. Many set dances are performed in treble jig time,

182-623: Is a form of lively folk dance in compound metre , as well as the accompanying dance tune . It first gained popularity in 16th-century England, Ireland, Scotland, and other parts of the British Isles, and was adopted on mainland Europe where it eventually became the final movement of the mature Baroque dance suite (the French gigue ; Italian and Spanish giga ). Today it is most associated with Irish dance music, Scottish country dance , French Canadian traditionnal music and dance (trad) and

208-477: Is a type of folk dance practiced in the United States, in which the dancer's footwear is used percussively by striking the heel, the toe, or both against a floor or each other to create audible rhythms, usually to the downbeat with the heel keeping the rhythm. Clogging can be found at various Old-Time and Bluegrass Music festivals. Clogging is the official state dance of Kentucky and North Carolina . In

234-400: Is a typical scenario from a dramatic jig and it is likely that the combination of dance metre for steps and non-metrical passages for pantomime indicates how a solo or ensemble jig might have been danced by stage players.' Later the dance began to be associated with music particularly in 8 time, and with slip jigs 8 time. During the middle of the 16th century the dance

260-480: Is based on English, and Irish fiddle tunes as well as African American banjo tunes. Clogging primarily developed from Irish step dancing called Sean-nós dance ; there were also English, Scottish, German, and Cherokee step dances, as well as African rhythms and movement influences too. It was from clogging that tap dance eventually evolved. Now, many clogging teams compete against other teams for prizes such as money and trophies. The term "buck", as in buck dancing ,

286-517: Is traceable to the West Indies and is derived from a Tupi Indian word denoting a frame or hurdle for drying and smoking meat; the original po bockarau or buccaneers were sailors who ate smoked meat and fish after the manner of the Indians. Another source states that the word bockorau can be traced to the "Angolan" word "buckra', and was used to refer to white people, which is disputed. Eventually

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312-563: The Irish jigeánnai , itself borrowed from the Old English giga meaning 'old dance'. It was known as a dance in 16th-century England, often in 8 time, and the term was used for a post-play entertainment featuring dance in early modern England, but which 'probably employed a great variety of dances, solo (suitable for jigs), paired, round, country or courtly'; in Playford's Dancing Master (1651) 'the dance game in "Kemps Jegg"

338-657: The Métis people in Canada. Jigs were originally in quadruple compound metre, (e.g., 8 time), but have been adapted to a variety of time signatures , by which they are often classified into groups, including double jigs ( 8 ), slip jigs ( 8 ) and single jigs ( 8 ). The term jig was probably derived from the French giguer , meaning 'to jump' or the Italian giga . The use of 'jig' in Irish dance derives from

364-633: The United States, team clogging originated from square dance teams in Asheville , North Carolina 's Mountain Dance and Folk Festival (1928), organized by Bascom Lamar Lunsford in the Appalachian region . The Soco Gap Dancers performed at the White House in 1939, which caused an uptick in the popularity of team clogging. American Clogging is associated with the predecessor to bluegrass — "old-time" music , which

390-490: The evolution of 20th-century tap and soft-shoe dancing. A variant of the straight jig was the " sand jig " or "sand dance", performed as a series of shuffles and slides on a sand-strewn stage. The most prominent sand jiggers of the 19th century were two women, both born in New York in 1855: Buffalo native Kitty O'Neil and her Manhattan-born rival Kitty Sharpe. Sand dancing was a staple of minstrelsy, variety and vaudeville, and

416-454: The general notion of how the jigs are played and classified among traditional Irish musicians. A light jig is the second-fastest of all jigs. The performer's feet rarely leave the ground for long, as the step is fast, typically performed at a speed around 116 at feiseanna . There are several light jig steps, varying with each dance school, but the rising step, or the rise and grind, is standard in almost all light jigs. The right side version of

442-484: The heel or toe, "hops" on one foot, "springs" off both feet as well as various slides and shuffles. The most famous early jig dancer was Master Juba , an African-American who inspired a host of white imitators, many of whom performed in blackface . John Diamond , an Irish-American who competed with Master Juba in a series of "challenge dances", was among the most prominent of these white minstrel jig dancers. Minstrel jigs, as well as clogs and breakdowns, were crucial to

468-413: The hop, and hop back. The next movement is a hop on the right foot. Then shift the weight, left-right-left-right. The phrase for this whole movement is: "hop, hop back, hop back 2-3." To do the step on the left foot, reverse the left and right directions. Slip jigs are in 8 time. Because of the longer measures, they are longer than the reel and the light jig, with the same number of bars to

494-399: The music. The dance is performed high on the toes, and is often considered the "ballet of Irish dance" because of its graceful movements that seem to slip the performers across the floor. Slip jigs are performed at a speed of 113 bpm at feiseanna. Single jigs should not be confused with slides ; they are the least common of the jigs, performed in ghillies, in a 8 or less commonly

520-531: The old time music tradition into other musical voices, instrumentation, and styles. Over the years, the Festival has been frequented by accomplished Nashville musicians like John Hartford and Tim O'Brien and Leftover Salmon jam band leader Vince Hermann, legendary old time Appalachian musicians like Melvin Wine and Lester McCumbers , leading "second generation" old time musicians like Mike Seeger , Bruce Molsky , Rafe Stefanini , Brad Leftwich , and Ira Bernstein , and

546-588: The people gathered within earshot. Though the Festival officially starts the Wednesday before the first full weekend in August, the grounds start filling up the weekend before with well-adorned campsites, many of which have music being played through the night. One of the Festival's unique features is the Neo-Traditional Band Contest on Friday, in which highest scores are given to bands that creatively extend

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572-526: The rhythms of African tribal music. Yet another etymology of the word argues that it derives from the word "buck", used as a pejorative term for African American men in the 19th century. Buck dancing was popularized in the United States by minstrel performers in the late 19th century. Many folk festivals and fairs utilize dancing clubs or teams to perform both Buck and regular clogging for entertainment. Notes Bibliography Jig The jig ( Irish : port , Scottish Gaelic : port-cruinn )

598-399: The rising step is performed by putting weight on the left foot, lifting the right foot off the ground then hopping on the left foot once. Hop on the left foot again, bringing the right foot back behind the left foot and then shift the weight onto the right foot, leaving the left foot in the air. Dancers use the phrase "hop, hop back" for these three movements, and there is a slight pause between

624-407: The term came to describe Irish immigrant sailors whose jig dance was known as 'the buck'." One source states that buck dancing was the earliest combination of the basic shuffle and tap steps performed to syncopated rhythms in which accents are placed not on the straight beat, as with the jigs, clogs, and other dances of European origin, but on the downbeat or offbeat, a style derived primarily from

650-658: The youngest generation of old time musicians like Jake Krack . The Festival takes place each summer at Camp Washington-Carver , in Clifftop, Fayette County, West Virginia , United States and is sponsored by the West Virginia Division of Culture and History. (Brooklyn, NY) (Brooklyn, NY) (Brooklyn, NY) (Shelbyville, TN) (Marshall, NC) 38°0′36″N 80°58′14″W  /  38.01000°N 80.97056°W  / 38.01000; -80.97056 Flatfoot dancing Clogging , buck dancing , or flatfoot dancing

676-516: Was adopted in Ireland and in the 17th century Scotland, where it was widely adapted, and the jig is now most often associated with these countries, especially Ireland. The jig is second in popularity only to the reel in traditional Irish dance; it is popular but somewhat less common in Scottish country dance music. It is transcribed in compound metre , being 8 time. The most common structure of

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