Introduction: Irish dance has evolved to become more athletically demanding, thus making the art form very hard on dancers' bodies. Irish dancers must land from difficult moves without letting their knees bend or heels touch the ground, causing large amounts of force to be absorbed by the body. Past studies have found dancers landing with a range of 4.5–6 times body weight, potentially causing high amounts of overuse injury. The majority of injuries incurred by Irish dancers are due to overuse (79.6%). The landings that occur in Irish dance have been minimally evaluated in current literature. Obtaining values of vertical ground reaction forces (GRFs) produced by Irish dancers will assist in understanding the causes of overuse injuries, fill significant gaps in the current literature, and identify which Irish dance moves should be used less frequently to possibly reduce the chance for overuse injury. Purpose: To determine vertical GRFs produced by female Irish dancers in hard and soft shoes during common movements. The purpose of this study was to determine peak force, rise rate of force, and impulse in selected Irish hard shoe and soft shoe dance movements. Materials and Methods: Sixteen female Irish dancers between 14 and 25 years of age were recruited from the 3 highest competitive levels. Each performed a warm-up, reviewed 8 common Irish dance moves, and then performed each move 3 times upon a force plate. Four moves each were performed in soft and hard shoes. GRFs were measured using a 3-dimensional force plate running at 1000 Hz. Peak force, rise rate, and vertical impulse were all calculated. It was hypothesized that the 8 moves would produce different GRFs. Results: Peak forces normalized by each dancer's body weight were significantly different across moves (F = 65.4, p < 0.01; F = 65.0, p < 0.01; and F = 67.4, p < 0.01 respectively). Years of experience was not correlated with peak force, rise rate, or impulse (p < 0.40). Conclusion: There is a large range in peak forces created by Irish dancers. Moves that have high average peak forces may have a higher risk in causing overuse injuries. All dancers should take care to limit the use of these moves in their choreography to prevent such injury.

In this essay I refer Eilis Ni Dhuibhne’s narrative construction of the main characters and the theme of the novel The Dancers Dancing, in the context of the anthropologist Victor Turner’s concept of liminality. Thus the summer in the Gaeltacht that five teenage girls experience, can be understood as a depiction of the liminal phase in a rite of passage. Ni Dhuibhne’s differently constructed characters enlighten different aspects of liminality and through the céilí dance their experiences are exposed. Furthermore this essay suggests that Julia Kristeva’s notion of the chora, which can be associated to dance, is also relevant when describing the unbounded and unlimited process that radically can reform social structures. I conclude that the liminal space offers an area of many possibilities. It functions as a free zone where the main characters can freely explore their personal issues that trouble them, or the difficulties of their own society.

abstract: This thesis examines the integration of somatic principles into Irish Step Dancing. The researcher conducted a twelve week case study that explored how utilizing the Centre-line Support System in training competitive Irish Step Dancers, through integrating Alexander Technique and Bartenieff Fundamentals of Total Body Connectivity can generate increased height and efficiency in jumping and an improvement in upper-body carriage, while longitudinally reducing the occurrence of over-use injuries. Research occurred between January and March 2012 in Tucson, Arizona and Dublin, Ireland. Additional research and reflection occurred in Belfast, Glasgow, and London, United Kingdom; Limerick, Cork, and Galway, Ireland; Amsterdam, The Netherlands; Chicago, Illinois; Phoenix, Arizona; and Los Angeles, California. / Dissertation/Thesis / M.F.A. Dance 2012