I was delighted when I was asked to write an article about my time in Ireland.† I feel so blessed to have had the opportunity to have my own one and half year adventure in Ireland, and to have these wonderful experiences that I can now write about.† This article will probably be therapeutic for me.
 
The impetus of my trip was the fact that I received a Fulbright grant to follow a Masterís programme at the University of Limerick (UL).† And I did just that:† I earned a M.A. in Ethnochoreology (which is, basically, the anthropology of dance), with an emphasis in traditional Irish dance.† In many ways, the programme was a means to an end for me.† Since I already had a M.F.A. in dance, the degree from UL was an additional masterís that I didnít necessarily need. †What it did, however, was afford me the opportunity to have an extended stay in Ireland, where I could focus extensively on both the performance and historical aspects of Irish dance.† I swore I was going to make the most of my time in Ireland, especially in relation to improving my dancing and knowledge of the dance itself.†
 
For starters, being at ULís Irish World Music Center (IWMC) every day means youíre ëright in the middle of thingsí when it comes to Irish music and dance artists.† There are well-known artists in and out of there every week, giving master classes, workshops, lectures, seminars, and tutorials.† These artists would also give lunchtime concerts that were free to attend.† In addition, the IWMC sponsored several festivals that brought artists in as well.† And then the UL Concert Hall hosted lots of great concerts, to which students got reduced admission.† Some well-known artists I saw during my tenure in Limerick include Kevin Crawford, Karen Casey, Eamonn & Geraldine Cotter, Cran, Flook, Matt Crannitch, Sliabh Notes, Johnny OíLeary, Frank Harte, Sharon Shannon, Colin Dunne, and Rag˙s.
 
In the realm of step dancing, I had a lot of interesting experiences.† I was the only person in my programme to include performance as a part of my thesis, which was a comparison of the style of dance between the first and second largest competitive Irish dancing organizations: An Coimisi˙n and An Comhdhail.† To do the comparison, I took classes from a school in each organization: I traveled weekly to Cork to take lessons from the Keniry School (Comhdhail), and for the Coimisi˙n School, it was Scoil Rince UÌ Rourke in Limerick.† The OíRourke School is the oldest school of Irish dance still in existence in Ireland, so they are steeped in the tradition.† They also helped me to prepare for my TCRG (Irish dance teacher certification), which I passed. (I sat the exam on Thanksgiving Thursday and Friday of 2003 in Dublin, so while yíall were enjoying your turkey, I was sweatiní it out!)† They taught me so much while I was in Ireland; I tried to return the favor, at least in part, by teaching for them every chance I could.† We remain good colleagues and friends, with a working relationship that will be long and fruitful for both of us.
 
I attended feiseanna, organized dancing competitions, for both organizations, which included class feiseanna, local feiseanna, The Munster Championships, the All-Ireland Championships, and the World Championships.† I also attended a sean-nÛs (old-style) competition in Ros Muc, Co. Galway, which is in the heart of the Connemara Gaeltacht.† As I had attended the workshop earlier in the day, I got pressurized into entering the competition, because they needed more competitors.† And Iím proud to say I was the only contestant who was brave enough (or stupid enough) to dance on the barrel beside the stage!† Ironically, as a result of my attendance and participation in that festival in Connemara, I developed a working relationship with the festivalís organizer, and was invited to be a teacher at this yearís event (Jan 2004).
 
I suppose most of the performing I did, besides casual situations, was with Planxty OíRourke, a group of dancers and musicians affiliated with the OíRourke School.† The most notable experience was dancing on tour with the Irish Harp Orchestra for two weeks in Germany, just before I returned to the States.† I was lead dancer and dance captain, and I did some of the choreography for the show.
 
In regard to cÈilÌ dancing, well, there isnít a whole lot of that in Ireland.† Mostly when you attend a cÈilÌ, itís set dancing, although cÈilÌ dancing seems to be more prevalent in the North.† There is a group, however, thatís trying to change those stats:† Cairde Rince CÈilÌ na h…ireann.†† This group is based in the North and is certifying teachers to teach cÈilÌ dancing to, mostly, schoolchildren.† Not having a presence in Limerick at all, they were glad to have me on board.† Since I already had a TMRF (cÈilÌ dance teacher certification), I didnít have to go through their certifying process, although I chose to for the experience and to ëkeep up my chops.í† It was during this process that I began to learn a little Irish, primarily dancing terminology.
 
The other opportunity I had to learn Irish was teaching at the Gael Scoil (Irish speaking school) in Limerick with Maureen NÌ Rourke Tuathaigh (again, of the OíRourke School).† Normally, the school only allows teaching in Irish, but they made an exception for me, as I was trying to prepare for the TCRG exam.† As a result, I began to learn quite a bit of Irish and was inspired to sit the oral Irish portion of the TCRG (which you arenít required to do, unless you will be teaching in Ireland).† Although Iím not fluent by any stretch, I learned enough Irish to pass that portion of the exam, which makes me certified to teach Irish dancing in Ireland.
 
I also did some teaching and lecturing at UL.† I taught for Blas, the IWMCís summer school of traditional Irish music and dance and lectured to undergraduate and post-graduate students.† Subjects included Labanotation, History of Irish Dance, bodhr·n practicals, and Irish dance practicals.† I also served as the Local Arrangements Coordinator for the Society of Dance History Scholarsí 26th annual conference, which was held, for the first time outside of North America, at UL in June í03.† Finally, I helped my course director to develop and organize an Irish Dance Research Forum, as a project to coincide with the Fulbright extension that was granted to me.
 
I have yet to speak of set dancing, which I did every chance I got!† Attending cÈilithe was loads of fun, and the music produced by an energetic cÈilÌ band is unbeatable.† There are set dancing workshops, classes, cÈilithe, and festival weekends happening all the time, all over the country.† Probably my favourite set dancing experience in Ireland was at Vaughanís in Kilfenora, Co. Clare.† (Although the cÈilÌ I attended in Co. Dublin on my return trip in January, called by Donncha OíMuineachain with music by the Swallowís Tail CÈilÌ Band, was pretty darn good too.† To my surprise and delight, he called both set and cÈilÌ dancing!).† Vaughanís has set dancing every Thursday and Sunday nights, in a converted barn that sits at the back of the pub.† Music is usually by the Four Courts CÈilÌ Band.† I highly recommend going, if ever you have the opportunity.† And the Willie Clancy Festival in Miltown Malbay, Co. Clare is always a good option, with cÈilithe held twice a day in three different locations for an entire week in July.
 
†I also traveled to another festival, Le Grand Bal de líEurope, with a group of Irish dancers and musicians last summer.† The festival is held in south central France, near Moulin, and is a celebration of dances from all over Europe.† We taught workshops, called cÈilithe, and performed at the Spectacle - all over the course of about ten days.
 
I also attended the All Ireland Fleadh in Clonmel, Co. Tipperay, the Ennis Trad Festival, the Pan Celtic Festival in Kilkenny, and the list goes on and on.† I could go on forever, I imagine, but I only have so much space to write.† I guess the most important thing is that Iíve finally returned.† And Iím delighted to be able to share with my community, who supported my journey so many ways, all that I learned and experienced while I was in Ireland.† My sincere thanks to all who helped to make this journey possible for me ñ and especially to the Fulbright U.S. Student Program, without whom the opportunity wouldíve never existed in the first place.