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Fun, fitness & friendship!

• • One kilt, so many stories

    In March I received a phone call from someone who’d seen our article A toe-tapping return to Scottish Country Dancing in the Independent Herald. However, she wasn’t looking to come dancing, rather to offer us the donation of a kilt, in the hopes it would find a new home with someone ‘from the Scottish Country Dancing community’. Like many of us, Jane Aim has accumulated a lot of possessions over her life, and is in the process of doing a clear-out. Amongst the many items, was her childhood kilt, made from fabric ordered from Scotland. You might expect Jane’s kilt to be child-sized and well worn. However, she only wore it for special occasions, and it was made with lots of room to grow (as many clothes were in those days). Jane tells us the story of her kilt: About 70 years ago my Mother ordered two kilts. I would have been 13 or 14 and my sister eight or nine. She ordered Lindsay tartan and they were made by Mr McPhee, who was the kiltmaker of Wellington at that time. Around 70 years old, Jane Aim’s Lindsay tartan kilt is in good condition. Photo: Kristin Downey This kilt is special by virtue of its age, its connections to Jane’s childhood, and its historical links to her forebears in Scotland. Jane’s great-great-grandmother, Jane ‘Jean’ Lindsay, was born in Annan in Dumfriesshire, Scotland in 1816. The kilt itself was made by N & A McPhee, Highland Outfitters of Wellington, established in 1946 and still operating today as McPhees, supplying kilts, sashes and dancing shoes to the Scottish Country Dancing community. Adding more interest to the story, Jane is a fifth-generation kiwi, with links to longstanding New Zealand families, including the Blundells and the Seddons. Definitely a kilt with lots of stories to tell, read on for a few in brief. Jane ‘Jean’ Lindsay Namesake and great-great-granddaughter Jane Aim gives us a short history: My great great grandmother was Jane Lindsay (sometimes called Jean) who came from Annan, a market town and port in Dumfriesshire, Scotland. Jane married Thomas Seddon of St Helen’s, Lancashire and this is where they lived. They were both teachers.Jane taught junior school at Eccleston denominational school and Thomas was headmaster of an endowed ‘free school’ and taught about 50 pupils. Later their second son, Richard John Seddon came to New Zealand, lived on the West Coast and was Premier of New Zealand from 1893 – till his death on 10th June 1906. Jane ‘Jean’ Seddon (Lindsay) Photo: Geni Richard Seddon Photo: Wikipedia N & A McPhee Neil McPhee was a Detective Sergeant in the New Zealand Police, where he set up the Wellington (now New Zealand) Police Highland Pipe Band. From some time early in the 1930s he started making bagpipes, and when he retired from the police in 1945, he opened his own bagpipe turning shop with brother Alan. In 1946, Neil then founded N & A McPhee, Highland Outfitters. The company has had a long connection with Scottish Country Dancing in New Zealand, with a full page ad on the back page of the first edition of The New Zealand Scottish Country Dancer magazine in 1954. N. & A. McPhee were ‘Always at your service’ offering ‘Ladies and Gents Kilts made to measure’ from ‘a fine selection of Hand Woven Tartans in Ancient Colourings just to hand from Inverness.’ Also ‘Ladies Sashes and Dancing Pumps’. By 1957 their ad had moved to the inside of the front cover of The NZSC Dancer, and the company was now known as McPhee’s Highland House, stocking ‘everything required by Scottish Country Dancers’. They now also offered dance books and ‘Country Dance recordings by Jimmy Shand, Bobby MacLeod’ and many other musicians whose music the club holds in its music collection. The company has continued to operate continuously since 1946, under different owners over the years and is now known simply as McPhee’s. It still makes kilts and still advertises in The NZSC Dancer – now with full colour illustrations of their range of dance shoes and sashes. You can see some fantastic old photos of Neil McPhee on the New Zealand Police Band Facebook page. Jane Aim Jane is well embedded in the Wellington community, to which she has given great service, and for which in 2016 she was presented with the Queen’s Service Medal. Jane Aim at her investiture on 15 April 2016 with the Governor-General Lt Gen The Rt Hon Sir Jerry Mateparae. Photo: Government House Jane’s family has a long history with Old St Paul’s and she was very involved with its preservation and enhancement. As a life member of the Oriental Bay Resident’s Association, Jane has also been involved in many projects, such as the children’s playground at Freyberg beach. In addition to her family connections to the Seddons, Jane is also a descendant of Henry Blundell who founded The Evening Post newspaper in Wellington. Henry Blundell Photo: Stuff Both Jane’s father and grandfather worked at the newspaper and she was present at a function prior to the opening of the new Press Hall in Willis Street, on the site that once housed The Evening Post’s printing presses. All this history tied up in one kilt, with only one small repair to hint at its longevity. Many thanks to Jane Aim for the donation of her kilt, and the stories that go with it. Kristin Downey5 May 2022... Read more...
  • Loralee Hyde: Fun and friendship down south

    After two years of covid restrictions, many New Zealanders are making the most of the opportunity to explore special areas around our own country before making the big leap to travelling overseas again. As Scottish Country Dancers, we are always made welcome at other clubs across New Zealand on our travels – it’s a great chance to catch-up with old friends and make new. For the experiences some Johnsonville members have enjoyed in the past, see Rod and Kristin dancing in Hawke’s Bay and Pat Reesby in Whangarei During a tour around the south of the South Island at the beginning of April, I was fortunate to stay in Dunedin on a Monday night, which is when Ceilidh Club dances at St Johns Church Hall in Roslyn. It was wonderful to catch-up and dance with Xiaowen Yu, one of the tutors at the club. Formerly from Wellington, she is now living in Dunedin and working at the University of Otago with funding from the Neurological Foundation This was the first time the club had gathered to dance since February. A rotation of people take the dancing at Ceilidh Club. On this evening Janet Favel, a former President of the New Zealand RSCDS Branch, and Anne Watkins, a club member, shared teaching the programme of relatively well-known and easier dances including Maxwell’s Rant, The Minister on the Loch and The Mad Hatter, a dance devised by Wellingtonian Iain Boyd. Dancing at Ceilidh Club: Janet Favel is at the left and Xiaowen second from the right. Photo: Loralee Hyde With the Omicron covid variant doing the rounds, I hadn’t danced since the Wellington 2021 Hogmanay. This was a lovely relaxing evening of fun and friendship…and helpful for recovering some of my mental fitness for dancing! Thanks so much to Ceilidh Club for your welcome and for the opportunity to get to know you. Xiaowen and Loralee Next time you’re travelling to a different part of New Zealand, take a look at the NZ Branch club directory to see what club is dancing near you and pack your shoes! As Xiaowen says: “It’s lovely to slot right in wherever you go”. Loralee Hyde21 April 2022... Read more...
  • A Fine Night of Dancing at our first Tartan Night for 2022

    We had a great night’s dancing on Monday 11 April, with plenty of tartan on display – rugs and banners round the walls and ties, sashes, skirts and kilts on the dancers. Even our newest dancers turned up in tartan, a mighty effort. It was amazing how quickly the Khandallah Town Hall was transformed into a Scottish venue for the night by all the willing helpers with drawing pins and Blu-tack. We were a bit short on ladders, so new dancer Ian was in great demand, his height being very helpful with pinning up the tartan rugs! Saltires and a banner with Scottish lion rampant provided a great backdrop for our tartan-clad band, Aileen Logie, Hilary Ferral and Jason Morris. Jason, Aileen and Hilary with a physically-distanced Rod at the right surveying the floor. Photo: Pat Reesby Time (and lack of ladders) meant only a little of the club’s tartan bunting was on display, but it added to the atmosphere, perched cheerily on the balcony above. The Club’s bunting high up on the balcony. Photo: John Homes There were several firsts for 2022, our first Tartan Night of the year, our first night with a band on stage and Rod’s first night back after suffering with a Covid infection. We hope that Kristin will be with us again before too long. Other firsts included Rod as ‘masked man’ briefing through his Covid mask, a great feat involving juggling both the headset and his mask. At one point the headset ended up under the mask, but he got it all sorted out. Rod managing both his mask and the headset while briefing a dance. Photo: Robert Vale In an ‘abundance of caution’ Rod confined himself to the stage all night. Thanks to teacher-in-training Maureen Sullivan, for taking the warm-up. And to those who made sure Rod didn’t miss out on supper goodies, handing up plenty of delectable tidbits along with his cup of tea at supper time. Maureen leading the warmup. Photo: John Homes Rod had taught us all the dances on club nights but it’s definitely a different experience to do a dance after a single walk-through, congratulations to our new dancers who all went really well. The club’s experienced dancers were happy to give them a helping hand when needed. Enjoying the first dance, Bev’s Delight. Photo: John Homes Dancing six hands round and back in the Birks of Invermay. Photo: Robert Vale We were definitely ready for tea after the first six dances, thanks go to everyone who provided such a tempting spread. There were even rumours of fish and chips, but when the package was unwrapped it was full of delicious deep fried dumplings – a very tasty supper surprise. Supper Co-ordinator Elizabeth Ngan presenting the most-welcome supper. Photo: John Homes A supper for all to enjoy. Photo: Robert Vale Back on the floor after supper, everyone continued having fun (despite the challenges of Corstorphine Fair), and lots of people stayed to the end and helped with the packing up. Another fine night of dancing. New dancers Ian and Janet joining in the fine night of dancing. Photo: Robert Vale Kristin Downey and Robert Vale14 April 2022 Download the April 2022 Tartan Night Programme... Read more...
  • St Patrick’s Day Celebration 2022

    The club’s January Summer Ceilidh was cancelled this year due to Covid settings, so our St Patrick’s Day celebration on 21 March was the first club event of 2022, and a fine one it was. People really got into the spirit of St Patrick and the Emerald Isle, with members and visitors alike each wearing their own shade of green. It was great to see new dancers joining in so enthusiastically, with all sorts of Irish-themed accessories – think shamrocks, leprechauns, a bit of glam and a bit of fun. And fun was what it was all about. A sea of emerald green. Photo: Robert Vale As usual, Rod devised a programme of dances with Irish connections, some perhaps apocryphal (eg Lady Glasgow, rumoured by previous club tutor Marjorie Crawford to have been notorious for stealing money from the Irish, but Google provides no clues to the truth of this). Also as usual, there were a few challenges amongst the dances, for both experienced and newer dancers – but it all added to the fun. It all started well with The Wild Geese, Rory O’More and Rod’s dance The Parting Glass. Then St Patrick’s Day tripped us up a bit with its requirement for going hardly anywhere in 4 bars (twice), and the reels in Dougal of Shandon were definitely a challenge. But what did it matter when we had such good company and music to set our toes a-tapping. Accordionist Aileen Logie started the way she meant to go on with a jig for our warm-up music, then gave us lots of Irish flavoured tunes to take us through the night. Aileen did leave the stage to join in dancing The Parting Glass. However, we still danced to her playing of this evocative set of song tunes, courtesy of a recording she’d made with Hilary Ferral and Jason Morris. Of course, it wasn’t all dancing and music, we also enjoyed a good supper, with a few special things on offer. There was green tea, home-made apple cake from Elizabeth Ngan, plus green and white apple sherbet lollies and no less than two shades of green serviettes and a lively green tablecloth. Congratulations to this year’s beginners. They’d only joined us a few weeks earlier, and still managed to dance their way through some tricky and unfamiliar dances. Thanks to Rod, Aileen, and the club’s more experienced dancers (and our visitors) who made sure everyone had a good time on the dance floor. The night finished with a set of very experienced dancers flying through that old favourite, The Irish Rover. Kristin Downey24 March 2022... Read more...
• • Aileen Logie: Scottish/Irish Music Connections

    Aileen’s musical life in Scotland started as a child in a family of musicians, surrounded by music, so I asked her if she could write something for us talking about the relationship between Scottish and Irish music. She was kind enough to agree. As Aileen says, “This is a quick primer through numerous subjects really. Each paragraph is a subject in itself.” I found her article really interesting, especially thinking about how music for Scottish Country Dancing fits into the wider picture of Celtic music. There are lots of musical treats in store in Aileen’s article, just click on the links to enjoy some fantastic Celtic music performances. Kristin Downey Aileen playing the strathspey The Parting Glass for Scottish Country Dancing at the Johnsonville St Patrick’s Day celebration in 2021 Photo: Loralee Hyde There has been cross pollination of music between Scottish and Irish way back through the mists of time. The Celts are a musical tribe. What you find depends a lot on which slice of history you look at. There is a notion that local music reflects the cadence of local language. Scottish and Irish Gaels are cousins – both Scottish and Irish gaelic is mutually understood and is phonetically very similar (although spelled differently). The root of much traditional music is traced back to gaelic songs – rhythmic working to ballads, eg waulking songs for stretching tweed fabric. The oldest form of Celtic music is ceol mor Highland piping – and links to the classical music of Northern India (which is where the Celts originally came from). Engraving of Scotswomen singing while waulking cloth, c. 1770 Image: Wikipedia Scots and Irish both share some very difficult history. Highland villages were displaced for sheep grazing during the Clearances. Irish suffered famine and crop failure. Both led to forced emigration in desperate circumstances from their homelands to New England and east coast settlements. Such heartbreak leads to stirring and emotional tunes – some beautiful, others chilling, eg Sorais Slan le Fionnairidh (Leaving Fuinary) and Carrickfergus. People have tried to generalise about the recognisable features between Irish/Scottish. You hear that Scottish music has stronger rhythms and Irish music is more flowing and ‘diddly’. I find that the background of the player is every bit as important – accent, emphasis and phrasing. There are huge regional variations in Scotland and Ireland – more so than the Irish/Scottish divide. In Scotland there is the West Highland tradition, steeped in pipe tunes, (eg Aonghas Grant), strong rhythmic fiddle playing style in NE (Strathspey territory), (eg Paul Anderson playing tunes you’ll recognise!), lowland music geared to community – quite mixed, often with Presbyterian hymn chord sequences as its base. You can play any tune in any ‘dialect’ you want to. Donegal has strong Scottish links and have tunes called ‘Highlands’ which turn out to be strathspeys (eg Mairead Ni Mhaonaidh). Glasgow is a home from home for Irish and any session there will have a strong representation of Irish tunes (eg an Irish pub session). What is true is that Scottish traditional music has some unique forms eg the Strathspey (12 different types identified), pibroch pipe music (stirring stuff) (eg Lament for Donald of Laggan), retreat marches (3 beats to the bar) (here at Dufftown Highland Games), and a wide range of other marches not found elsewhere. Irish hornpipes have wide appeal, but are not unique. The Scottish Country Dancing music you hear played is a distinct genre which is shoe-horned into the requirements of this branch of dancing. Only 3 tempi (reels, jigs, strathspeys) played in a very prescribed style – particular speed, emphasis on first beat of the bar, steady and continuous. Music is not normally formulaic like this and you might be surprised to hear how some of these tunes are traditionally played! You will not hear much difference between Scottish and Irish jigs when played for Scottish Country Dancing, as I will be strictly bounded by that dance prescriptive form. Enjoying the Scottish Country dance The Parting Glass (devised by Rod Downey) at the Johnsonville St Patrick’s Day celebration in 2021 Photo: Loralee Hyde Here’s a close to authentic version of The Parting Glass played in a pub. It is a very old song linked to a very old tradition of having a farewell drink together at the end of a convivial evening. Called Stirrup Cup in England, Deoch an Doruis (drink at the door) in Gaelic. (Listen to a 1912 recording by Harry Lauder.) This tradition still continues to a degree, but has been severely hampered by tough drink/drive laws! The tune is Scottish, first version noted in 1605 – so it well precedes the Burns and Gow era. It was collected and committed to paper in the 1780s. Most people think it is Irish, and this happens a lot, but I’m sure cuts both ways. Scottish silver stirrup cups, Hallmarked Edinburgh, 1917 Image: Wikipedia Parting Glass, British, Burslem, Staffordshire, Stirrup cup, Ceramics-Pottery, c. 1780 Image: copyright Metropolitan Museum of Art, CC0, via Wikimedia Commons One tune can travel far, gathering lots of different names as it goes – some might have 15. A tune is a living entity and depends on the player to bring out what they feel the music is saying – this obviously varies – a lot! It can develop arms, legs and twists as it goes. It also depends on the instrument. Drone reed instruments tune to the Pythagorean scale (just, true frequencies) and play only in that key. Other instruments tune mostly to Equal Temperament scale (developed by Bach) which compromises notes so that any key is playable by the instrument. However, it means different keys have a different mood/feel and this feature can be emphasized when you are composing a tune. Bright and happy – go for G or A. Sad and emotional G minor and D minor does it for me. It has been interesting having more Celtic nation festivals. You can really hear the commonalities. Cape Bretons developed a strong very rhythmic style to suit their percussive step dancing (eg Andrea Beaton, live strathspeys then reels). Step dancing has been reseeded back to Scotland (from whence it came) and is enjoying considerable revival. Here’s an older Cape Breton video of step dancers and in this more recent one you can hear the foot percussion. The links with Irish dancing are plain to see. Galician (and Breton) pipe music is more complicated harmonically but again shares the same roots. We even have Bulgarian dance rhythms fusing with Celtic music – this makes sense as it was on the Celts migration route west. Celtic music connections far outweigh notional national differences! Aileen Logie15 March 2022... Read more...
  • Dancing shoes: What to wear on your feet?

    When starting out, any light, comfortable soft shoes will do for dancing (so maybe not your Doc Martens). As long as they don’t fall off, you’re good to go. After you’ve been dancing for a little while and you decide it’s something you want to keep doing, it might be time to think about getting a pair of dancing shoes. The club holds a limited number of second hand shoes which are available for a donation to the club. Talk to Kristin at club next time we dance. I’ve had my second hand shoes for six years now and they’re still fine. There’s a range of dancing shoes to choose from. Photo: Loralee Hyde Shoes for women Women have a couple of choices for dancing shoes. There are ballet style pumps with an elastic draw string. These are easier to put on than shoes with laces and cheaper to buy. Ballet style pumps Photo: McPhee’s Then there are ghillie style pumps with long laces which feel more secure on the foot because of the laces. You don’t have to worry about your foot slipping out as it may do with the elastic pumps. Ghillie style pumps Photo: Loralee Hyde You can get both ballet style and ghillie style shoes with built-in cushioning. If you have minor foot problems or dance a lot and get sore feet, then the extra cushioning makes these very comfortable. Alternatively you can use a variety of insoles for cushioning, and/or any orthotics you may have. Shoes for men Blokes generally use the ghillie style pumps with long laces that criss-cross over your foot and then wind round your ankle. These are a bit of a pain to put on but once on, they are very comfortable and feel much better to dance in than ‘normal’ shoes because they are light and soft. Ghillies Photo: McPhee’s These can also be had with built-in cushioning for extra comfort, or you can customise standard ghillies with your own cushioning which you cut to fit. Jazz shoes for all Some people prefer shoes that have a little bit more support than dance pumps can offer, or need a small heel if they have a tendency to achilles problems. Jazz splits offer both support and a small heel. Jazz shoes Photo: Loralee Hyde Where can you buy dance shoes? Pumps (ballet and ghillie style) are available locally from McPhee’s, where Elaine Rowse is happy to answer any questions. If you would like to try on some shoes you can make an appointment to visit her in Karori. Phone 04 476 0139 or Ph/Text 021 587 315 or email Jazz splits are available from Gubbs Shoes in Wakefield Street, Wellington and also from Dance Stop in Queen’s Drive, Lower Hutt. You can of course also buy shoes online from other suppliers, but it can be hard initially to find the right shoe without trying them on. Many thanks to Club President Kristin for a lot of the information in this article. She is definitely the person to talk to about dancing shoes. Secretary: Robert Vale Robert Vale3 March 2022... Read more...
  • Barbara Kent: 30 years at Johnsonville Club

    Friends and fellow dancers heard the sad news that Barbara Kent passed away on Friday 25 February in her 89th year. She will be missed by many in the Wellington Region, and farther afield. Barbara was part of the Wellington Scottish Country dance community dating from the 1960s. She loved her dancing and contributed a great deal to the community, while preferring to keep a low profile. Barbara danced at (the now dis-established) Wellington Club, and at Lower Hutt Club before coming to Johnsonville, where she was a member for around 30 years. Her earliest recorded membership is in 1973, and she was still recorded as a member in 2002. In later years she was a long-standing member of Tawa Club. Barbara at the right with (from left) Peter Beaumont, Peter Elmes, Loralee Hyde and Kath Ledingham in 2002. Barbara enjoying dancing in 2002. In the set at the rear, Johnsonville Life Members Isla and Eric Norris are dancing. Tutor Rod Downey is at the front right. Photo: Loralee Hyde I don’t have much information on Barbara’s earlier years, but in 2017, Désirée Patterson, interviewed Barbara for her Tawa Club Life Membership award. You can read about Barbara’s fascinating life, in the June 2017 issue of Wellington Region newsletter Harbour City Happenings Barbara second from the right with Tawa tutors at the Tawa Club 60th Anniversary in 2018. Photo: John Patterson As part of Barbara’s job with the Ministry of Foreign Affairs, she was posted overseas on multiple occasions, and danced wherever she went. In the 1972 NZ Scottish Country Dancer magazine Barbara wrote an article News from Paris, where she described dancing with the Le Chardon d’Ecosse (the thistle of Scotland) group. However, her trips weren’t only for work. In 1979 she joined a group of 36 dancers on a trip to Canada (described in full in the 1980 NZ Scottish Country Dancer magazine). NZ dancers including Barbara on a trip to Canada. Photo: 1980 NZ Scottish Country Dancer p5 Barbara was part of a Māori performance item at the 1979 Oktoberfest at Kitchener/ Waterloo. As Scottish Country dancers, they ‘found a compromise (with Māori approval) by wearing a Māori type sash and headband with white frocks and shirts’, and were well received. Photo: 1980 NZ Scottish Country Dancer p7 In amongst all her travel, Barbara found time to support Johnsonville Club both as a tutor and a member of the committee. She was club tutor in 1985 and part of 1986, took beginners’ classes in 1991, 93, 94 and 1996, and was a relieving tutor through the late 1980s and early 1990s. In 1976 her role as president was cut short, when she was posted to Moscow, but she returned as a committee member from 1978-79, and then served a part year as president again in 1980, and was back on the committee in 1991. 1991 was the year Rod and I started dancing, and we really enjoyed our time in Barbara’s beginners’ class. In those days beginners were initially taught in a separate room in Johnsonville School until supper time, then joined experienced dancers in the hall for the rest of the night. As beginning dancers, Barbara prepared us well. Her encouraging manner and graceful style paired well with her strong technique and clarity of instruction. For some reason my abiding memory is of her teaching hands across, getting us to understand the elegance and precision of the formation as opposed to muddling through with hands everywhere and anywhere. 1991 Johnsonville Bad Taste Evening – Kath Ledingham & David Holland at the front with Kristin & Rod Downey behind. Barbara is standing at the right. Photo: Loralee Hyde When Johnsonville held its 50 Golden Years celebration in 2016, Barbara’s health did not permit her to dance, but we were very pleased she accepted the club’s invitation to be part of our celebration of those past members who contributed so much to the club. Barbara at the right with Ian Simmonds at Rod Downey’s 40th in 1997, where Peter Elmes and John Smith played for some Scottish Country Dancing. Photo: Loralee Hyde 2016 Johnsonville 50th Celebration Grand March. Barbara is at the left with former Club President Catherine MacAulay. Photo: Loralee Hyde 2016 Johnsonville 50th Celebration – John Munro, club secretary at the time, presents a golden polyanthus to Barbara Kent for her contribution as a former club tutor. Photo: John Patterson 2016 Johnsonville 50th Celebration – Barbara third from the right with club members from the 1960s, 1970s and 1980s. Photo: Loralee Hyde In her 86th year, Barbara looks on as Maureen Robson receives a Wellington Region Award at the Maureen Robson Tribute Dance in 2019. Photo: Loralee Hyde Johnsonville Club remembers Barbara for her commitment to dancing, her support of the club and its members, and her many achievements. As her family expressed it in the Family Notices in the DomPost on Wednesday 2 March – A full life well lived and enjoyed. Barbara’s family also thanked Malvina Major Village (among others) for their care of Barbara. Unit #9 was Barbara’s home over the last few years, and she told me she was quite tickled to have followed in the footsteps of Ngaio dancers Frieda and Murray Allardice who themselves followed Johnsonville Life Members Isla and Eric Norris in making #9 their home. Kristin DowneyPresident3 March 2022... Read more...
  • A toe-tapping return to Scottish Country Dancing

    At this time of year, many of us are thinking about starting new activities or perhaps returning to things we enjoyed as youngsters. In January 2021, Khandallah resident Anne Holmstead saw Johnsonville Scottish Country Dance Club’s ads for beginners’ classes, bringing back memories of all the fun she’d had dancing as a teenager in the 1970s. Anne recalls her first taste of Scottish Country Dancing as a teenager. “My Mum sent myself, sister and brother to Saturday morning Children’s Classes in our local Blenheim community hall when I was about 13-years-old.” “She said we stomped along rather than walking and thought it would help us to be lighter on our feet.” “She was right.” Anne (right) in 1970, presenting a thank you gift to her Marlborough Children’s Classes instructor in 1970.  Photo: Picture Corner, Blenheim  And so, in February 2021, Anne was one of 30 beginners who gathered at Khandallah Town Hall on Monday nights to give Scottish Country Dancing a go. The enthusiasm of tutor Rod Downey, and the support of Johnsonville Scottish Country Dance Club’s more experienced dancers, made her return to the dance floor as much fun as it had been all those years ago. “My toes started tapping the moment I heard Scottish tunes, and although it is hard work dancing again after 40 years break, I love the exercise as well as the music.” Anne stayed on to dance at weekly club nights, and “got fitter and my leg muscles stronger as the season continued.” Club president Kristin Downey says it’s a thrill to see Anne back. “It’s fantastic to see the pleasure people get as they re-engage with something they learnt as a child, and find the knowledge and body-memory returning.” “Anne is no exception, with a big smile on her face whenever you see her on the dance floor.’ Anne at the left dancing with Maggie Boag at the Johnsonville April Tartan Night in Khandallah Town Hall in 2021 If you’d like to try Scottish Country Dancing, for the first time or as a returnee like Anne, come along to Beginners’ Classes at Khandallah Town Hall on Mondays 14, 21 and 28 February. No partner required. Doors open at 7.15pm, $5/class (cash only), Wear flat shoes with soft soles, dress in layers for exercise, and BYO water bottle. Vaccine Pass and ID required. See more information here or contact Robert 021 163-9649, or Kristin/Rod 04 478-4948 Published in the Independent Herald Thursday February 10, 2022 Read the article in the Independent Herald... Read more...
• • Join us at dancing in 2022

    Scottish Country Dancing is a fun way to get fit and make new friends – all with toe-tapping Celtic music! We welcome you to the Johnsonville Club Beginners’ Classes on 14, 21 & 28 February, 7.30pm-9.30pm on Monday nights at Khandallah Town Hall, 11 Ganges Road, Khandallah, Wellington. Our classes suit all ages from teenagers and upwards. First Class: Monday, 14 February Doors open at 7.15pm. Come along then on the first night to register and be ready to dance at 7.30pm. Our tutor Rod Downey will introduce the steps over the three weeks and you’ll be up and dancing during the first evening. This is social dancing and we all dance together and help each otherNo partner is needed – come by yourself or with a friendWear soft shoes and light comfortable clothingJust $5 for each class – pay by cash at the door FREE for 2021 Johnsonville Scottish Country Dance Club members Covid requirements for Khandallah Town Hall At Orange and Red traffic light settings, Khandallah Town Hall is a ‘vaccinated premises’. Please have your ‘My Vaccine pass’ ready for scanning by a Johnsonville Club member. We may also ask for verification, in the form of photo ID. So bring your drivers’ license, passport, or any other form of photo ID if you have some. Please also wear your mask and scan the NZ Covid Tracer QR/sign in on arrival. Queries To find out more, contact Robert on 021 163 9649 or email him or Rod/Kristin on 04 478 4948 or email them Location Khandallah Town Hall, 11 Ganges Road, Khandallah, Wellington. Isabelle and Maggie: New dancers in 2020 Isabelle and Maggie with Kristin Downey, President of Johnsonville Club Two new dancers have kindly shared their experiences of being a new dancer at Johnsonville Club in 2020. Find out more from Isabelle and Maggie about their first year of dancing Poster Download the Johnsonville Beginners Poster 2022 Click here for more about our club and Scottish Country Dancing... Read more...
  • Wellington Region Hogmanay 2021

    On a warm Wellington evening, dancers from around the Region (including a great contingent from Johnsonville) and from further afield welcomed in the New Year at the Wellington Region Hogmanay on 31 December in Lower Hutt. Charles and Maura dancing the jig Ecclefechan Feline (this was Maura’s first ever Hogmanay!) Thanks to Elaine and Michael Laidlaw and their team for organising this great social event after another challenging year with dancing constantly disrupted by Covid lockdowns and restrictions. There was a general feeling of relief that we could celebrate Hogmanay together when others around the world are, yet again, subject to restraints due to the latest Covid variant. We welcomed RSCDS New Zealand Branch President Linda Glavin, Vice President Debbie Roxburgh with Paul, Communication and Publicity and Membership Coordinator Sue Lindsay and Youth Coordinator Nicole Trewavas. Others from outside the Region included Sue and Ian Pearson from Whanganui along with Doug Mills and Lynda Aitchison from Marlborough. Thank you to MC Damon Collin for leading us through the dances during the evening—and for sharing points about some of the more unusual dance origins or names such as Ecclefechan Feline! Robert and Liz leading down the middle while dancing Ecclefechan Feline We danced the night away to lively music from the band led by Aileen Logie on the accordion with Jason Morris (keyboard), Hilary Ferral (fiddle) and Terry Bradshaw (drums). Terry, Jason, Aileen and Hilary playing for the dance The Captain’s House One toe-tapping tune that particularly appealed to the dancers was The Magic of Merrill (The Reel of Seven) played for The Amateur Epidemiologist which was devised by Wellingtonian Andrew Oliver. This dance is included in the Wellington Region Covid-19 Collection Dancing The Amateur Epidemiologist with devisor Andrew Oliver in the set on the right setting to his second corner Popular dances included Scott Meikle, The Water of Leith and Violynne (devised by Johnsonville tutor Rod Downey). The more experienced dancers took up the challenge of dancing The Flower of Glasgow and The Aviator. Dancing The Flower of Glasgow – Liz and Pat at the left, Moira in the centre and Charles at the right Désirée and Robert dancing The Flower of Glasgow RSCDS NZ Branch President Linda Glavin with Debbie Roxburgh A highlight of the evening was Linda Glavin presenting Debbie Roxburgh with a RSCDS New Zealand Branch Life Membership. Congratulations Debbie for receiving this award—well-deserved after her many years of contributions to Scottish Country Dancing. With Moggie Grayson (her 75th, congratulations Moggie) and Jason Morris having birthdays on the night, we celebrated with them by singing Happy Birthday to rousing music from the band. Before midnight, Damon led a singalong of Scottish songs. Last year we’d moved to the 21st century with the words being projected on to a screen. Unfortunately, the hall’s projector had been stolen so we reverted to the old way of using printed copies! The ceremony for welcoming in the New Year began with the Old Year and the Sweeper sweeping out the old year while we sang Auld Lang Syne. The Old Year and the Sweeper sweeping out the year 2021 As President of the Wellington Region, Ann Oliver announced the arrival of the First Foot—the first person to come across the threshold in the new year, carrying gifts of coal for warmth, salt or money for wealth, shortbread for sustenance and whisky for good cheer. Followed by piper Nicole Trewavas, First Foot Jason Morris walked a circuit around the hall before presenting the gifts to Ann. Piper Nicole Trewavas and First Foot Jason Morris bearing gifts The First Foot then raised a toast to the RSCDS Wellington Region and we welcomed in the new year of 2022. Raising a toast to the Wellington Region – First Foot Jason Morris, Region President Ann Oliver, Piper Nicole Trewavas and MC Damon Collin After wishing each other Happy New Year, it was time for dancers to tackle the final three popular dances—the Eightsome Reel, Culla Bay and De’il Amang the Tailors. A fitting start to a new year of dancing! Loralee Hyde2 January 2022 Loralee with Liz See all of Loralee’s photos and download if you wish Watch these videos from Pat ReesbyEcclefechan FelineFair DonaldYan Tan TetheraNew Year Ceremony... Read more...