An Australian chicken breeder, Mr McFowler, fails to win competitions with his prized chicken, Hector, but he discovers Hector has another talent: dancing to Mr McFowler's old Scottish records. Mr McFowler sees an opportunity and has Hector form a highland dancing troupe which eventually woos audiences at the Edinburgh Tattoo.

"This is a work of great value to all who seek knowledge of Scottish-American events, and who wish to understand what surely must be one of the most interesting, colorful, and evident ethnic occurrences in the U.S." -W. R. McLeod vice-chairman, Dunvegan Foundation Clan McLeod "The author's enthusiasm for the Scottish Highland Games, and indeed her expertise, are reflected in this long-awaited work. All who are interested in the story of this enduring and popular festival will be grateful to Ann Donaldson for her conscientious research. It is a fine tribute to those Americans of Scottish descent who have contributed to keep this unique aspect of their culture vibrantly alive in the New World." -Gerald Redmond author of The Sporting Scots of Nineteenth Century Canada Discover the Scottish Highland Games, celebrated in over thirty U.S. states every year. Participants compete in the caber toss, Highland dancing, piping and drumming, fiddling, and many more competitive and non-competitive events. The Scottish Highland Games in America recognizes the players and events that keep the modern Games alive and exciting. Readers will discover the history of the Games, rooted in Scotland and celebrated in the United States, Canada, Australia, New Zealand, and other countries where Scots have settled. A complete state-by-state listing of the Games and their events is also provided. ABOUT THE AUTHOR Emily Ann Donaldson is a devoted Games fan, a participant in Scottish country dancing, and a member of several Scottish associations.

The author recalls her childhood in South Africa, her mother's obsession with teaching her and her sisters the Highland Fling, her father's drinking problem, her acting career in England, and her growing admiration for her mother's dedication as a dance t

Scottish Dance Beyond 1805 presents a history of Scottish music and dance over the last 200 years, with a focus on sources originating in Aberdeenshire, when steps could be adapted in any way the dancer pleased. The book explains the major changes in the way that dance was taught and performed by chronicling the shift from individual dancing masters to professional, licensed members of regulatory societies. This ethnographical study assesses how dances such as the Highland Fling have been altered and how standardisation has affected contemporary Highland dance and music, by examining the experience of dancers and pipers. It considers reactions to regulation and standardisation through the introduction to Scotland of percussive step dance and caller-facilitated ceilidh dancing. Today’s Highland dancing is a standardised and international form of dance. This book tells the story of what changed over the last 200 years and why. It unfolds through a series of colourful characters, through the dances they taught and the music they danced to and through the story of one dance in particular, the Highland Fling. It considers how Scottish dance reflected changes in Scottish society and culture. The book will be of interest to scholars and postgraduates in the fields of Dance History, Ethnomusicology, Ethnochoreology, Ethnology and Folklore, Cultural History, Scottish Studies and Scottish Traditional Music as well as to teachers, judges and practitioners of Highland dancing and to those interested in the history of Scottish dance, music and culture.

Explores how the Scottish heritage and folklore thrives and blends with Southern regional myths and culture, and how that creates a unique sense of identity for Scottish Americans.

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.

Some people travel to discover a country’s architecture; others to sample its cuisine, or experience its nature. For author Lori Henry, travel is a way to discover a country’s dances. In Dancing Through History, Henry crosses Canada’s vast physical and ethnic terrain to uncover how its various cultures have evolved through their dances. Her coast-to-coast journey takes her to Haida Gwaii in British Columbia, where she witnesses the seldom seen animist dances of the islands’ First Nation people. In the Arctic, Henry partakes in Inuit drum dancing, kept alive by a new generation of Nunavut youth. And in Cape Breton, she uncovers the ancient “step dance” of the once culturally oppressed Gaels of Nova Scotia. During her travels, Henry discovers that dance helps to break down barriers and encourage cooperation between people with a history of injustice. Dance, she finds, can provide key insight into what people value most as a culture, which is often more similar than it seems. It is this kind of understanding that goes beyond our divisive histories and gives us compassion for one another.

Dance Legacies of Scotland compiles a collage of references portraying percussive Scottish dancing and explains what influenced a wide disappearance of hard-shoe steps from contemporary Scottish practices. Mats Melin and Jennifer Schoonover explore the historical references describing percussive dancing to illustrate how widespread the practice was, giving some glimpses of what it looked and sounded like. The authors also explain what influenced a wide disappearance of hard-shoe steps from Scottish dancing practices. Their research draws together fieldwork, references from historical sources in English, Scots, and Scottish Gaelic, and insights drawn from the authors’ practical knowledge of dances. They portray the complex network of dance dialects that existed in parallel across Scotland, and share how remnants of this vibrant tradition have endured in Scotland and the Scottish diaspora to the present day. This book will be of interest to scholars and students of Dance and Music and its relationship to the history and culture of Scotland.