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Lacking the romantic imagery of the 1745 uprising of supporters of Bonnie Prince Charlie, the Jacobite rebellion of 1715 has received far less attention from scholars. Yet the ’15, just eight years after the union of England and Scotland, was in fact a more significant threat to the British state. This book is the first thorough account of the Jacobite rebellion that might have killed the Act of Union in its infancy. Drawing on a substantial range of fresh primary resources in England, Scotland, and France, Daniel Szechi analyzes not only large and dramatic moments of the rebellion but also the smaller risings that took place throughout Scotland and northern England. He examines the complex reasons that led some men to rebel and others to stay at home, and he reappraises the economic, religious, social, and political circumstances that precipitated a Jacobite rising. Shedding new light on the inner world of the Jacobites, Szechi reveals the surprising significance of their widely supported but ultimately doomed rebellion.

The step-dancing of the Scotch Gaels in Nova Scotia is the last living example of a form of dance that waned following the great emigrations to Canada that ended in 1845. The Scotch Gael has been reported as loving dance, but step-dancing in Scotland had all but disappeared by 1945. One must look to Gaelic Nova Scotia, Cape Breton, and Antigonish County, to find this tradition. Gaelic Cape Breton Step-Dancing, the first study of its kind, gives this art form and the people and culture associated with it the prominence they have long deserved. Gaelic Scotland’s cultural record is by and large pre-literate, and references to dance have had to be sought in Gaelic songs, many of which were transcribed on paper by those who knew their culture might be lost with the decline of their language. The improved Scottish culture depended proudly on the teaching of dancing and the literate learning and transmission of music in accompaniment. Relying on fieldwork in Nova Scotia, and on mentions of dance in Gaelic song and verse in Scotland and Nova Scotia, John Gibson traces the historical roots of step-dancing, particularly the older forms of dancing originating in the Gaelic–speaking Scottish Highlands. He also places the current tradition as a development and part of the much larger British and European percussive dance tradition. With insight collected through written sources, tales, songs, manuscripts, book references, interviews, and conversations, Gaelic Cape Breton Step-Dancing brings an important aspect of Gaelic history to the forefront of cultural debate.