Reviews of "Scottish Country Dancing with the Red Thistle Dancers, Part II"

Mary Murray, RSCDS teacher in Vancouver, British Columbia:

"Scottish Country Dancing with The Red Thistle Dancers - Part II" Congratulations on another successful venture for this enterprising group in producing a very useful tool for teachers and dancers alike. For teachers, this video provides lots of good technique ideas which can be adapted to suit the needs of various levels of classes. For dancers, it represents a good example of a high standard of dance technique to be emulated. I was impressed by the use of the "pause" feature at strategic places when demonstrating formations, as well as the drumbeat used to accompany the dancers when walking through the patterns of various figures.

The dances used to illustrate these figures and formations were well chosen and included some well-known RSCDS publications, as well as a few of Jennifer Kelly’s excellent compositions. The Red Thistle dancers demonstrated the dances proficiently, with emphasis on phrasing, covering and teamwork which, in my opinion, represent some of the most important elements in a well-performed Scottish Country Dance.

The very clear "voice-over" explanation of the steps and formations by Jennifer Kelly is a valuable feature in this production. Also, the very competent musical ensemble, comprising Michael Bentley (Bohdran & Percussion), Susan Worland Bentley (Violin) and Lyle Ramshaw (Piano), provided excellent accompaniment to engender the obvious enjoyment displayed by the Red Thistle Dancers in this video.
 

Peter McClure, RSCSD teacher in Winnipeg, Manitoba:

The Red Thistle Dancers are to be congratulated on undertaking a sequel to their first instructional video. The dancers show a high level of skill, at the same time showing the enjoyment of the group interaction which is one of the best features of Scottish Country Dancing. Particular congratulations are due their director, Jennifer Kelly, for undertaking to select the post-basic elements for inclusion in the collection. While there will be a lot of agreement on what is basic to SCD, a selection of those elements which should be placed in the next tier is much less obvious. While I will suggest one or two variations that I think would have been preferable, I remain very impressed at the selection that has been made, and at the skill, both in dancing and directing, that is apparent in the final product.

I did have some reservations, as follows:

The radial (or diagonal, if one prefers) symmetry of certain pairs of reels of three (those with corners, and most reels across the dance) should have had more emphasis, to counter the growing tendency for dancers to try to “mirror” cover such reels;

The movement, turn corner and pass partner, having been chosen for inclusion: it is unfortunate that the examples showed the corners dancing three steps and a step-close; perhaps that section should have had a disclaimer like that given with ladies' chain;

On the question of selection and balance, the left shoulder reel of four could well have been left out in favour of more attention to the reel of four across with progression;

Similarly, one of the demonstrations of pas de basque with travel showed a left foot start (very unusual in actual dancing), while those situations where travel is required, but the “inconvenient” foot is free (e.g. crown triangles) were avoided;

The inclusion of a relatively large number of unpublished dances (five of eighteen) seems questionable, assuming that the video is aimed at a wide audience; surely, more accessible dances could have been found to illustrate the various points (if not, the points are likely sufficiently obscure that they could be left out without compromising the usefulness of the video);

A leaflet, or cover list showing which dances display which formations would be very helpful to the user; however, it may be that making such a list for oneself would be even better.

On the positive side:

Good dancing, quite valuable to see for those who may not have regular opportunities to participate in an advanced class;

Throughout, a very good treatment of handing, both in the demonstrations and in the verbal descriptions;

With the slight reservations mentioned above, a good treatment of pas de basque with travel; retiring pas de basque was especially well done, and should be helpful to anyone struggling with that movement;

Overall, an excellent response to the challenge of selecting from and displaying the less common movements in SCD, so that dancers and teachers with limited opportunities may explore them.

Again, congratulations to the Red Thistle Dancers for having undertaken a very difficult task, and producing an excellent video. It should have the effect of encouraging dancers to review their own performance, and to seek out opportunities, such as workshops and summer schools, where they may work and exchange ideas with others. If it does, I'm sure the Red Thistle collective will feel well rewarded.