The New Dancers’ Celebration is Wellington Region’s biggest annual event, celebrating those who have taken up Scottish Country Dancing in the past two years.
Hosted by Linden Club in 2025 with Ann Oliver as MC, and with 118 people through the door, the evening was full of laughter and lots of smiles. The more experienced dancers helped the newer ones enjoy the special programme of mainly easier dances, with a few that were a little more challenging.
Gwen Lloyd started Scottish Country Dancing this year at Johnsonville Club. Along with other new dancers from throughout the Region, she enjoyed this celebration for the first time.
Gwen dancing at the top of the hall together with more experienced dancers at the New Dancers’ Celebration. Photo: Robert Vale
Read Gwen’s story of her fun and enjoyable experience at this celebration below.
On a lively evening, dancers gathered on Saturday 4 October at Knox Church Hall in Lower Hutt to celebrate the annual New Dancers’ Celebration—a vibrant and welcoming event designed especially for those new to Scottish Country Dancing.
A particularly helpful touch was the invitation sent to new dancers, which included the evening’s dance list and a brief guide to expected etiquette. This thoughtful detail helped set newcomers at ease, giving them a sense of what to expect and how to participate with confidence.
From the first chord played by the live band Saltire, the dance floor was buzzing and remained full right through to the final dance, with a large crowd staying until the very last note.
The musicians played with heart, adding subtle nuances that helped new dancers find the beat, while experienced dancers counted steps and offered gentle guidance (a soft push here saying, “off you go”, a firmer handhold there indicating “not yet”) to help newer dancers find their way.
Smiles, laughter, and encouraging words filled the room, with cheers and spontaneous “woo-hoos” ringing out as the evening progressed. Many newcomers expressed gratitude to their club colleagues, who partnered with them in the early dances and helped ease their nerves—building the confidence they needed.
With growing assurance, these dancers began reaching beyond their home clubs to join others on the floor, creating an unmistakable sense of connection and camaraderie which is something Scottish Country Dancing does so well.
Connection and camaraderie on the floor while dancing to fabulous music from Saltire: Duncan McDonald, Sharlene Penman, Sam Berkahn, Mary McDonald and Glenice Saunders. Photo: Andrew Oliver
The atmosphere was upbeat and relaxed, with dancers in kilts and casual attire alike sharing the floor. At times it was so full, dancers had to turn sideways just to squeeze through! Our tutors often remind us to dance wide and with extended arms but on this night, there simply wasn’t the space—a happy problem to have!
The hall full of dancers enjoying this special celebration. Photo: Andrew Oliver
A restorative supper break was especially appreciated, complete with thoughtful touches like a dedicated gluten-free table. It offered a welcome chance to rest, chat, and connect before heading back to the floor for more dancing.
The success of the evening was no accident, it was the result of comprehensive planning and attention to detail by the organising team. From the warm welcome at the door, to the clear communication beforehand, to the seamless flow of the programme on the night, every element contributed to a positive experience.
The organisers deserve sincere thanks for creating a space where new dancers felt supported and celebrated.
If the New Dancers’ Celebration was any indication, the future of Scottish Country Dancing is in excellent hands—and feet.
Read Robert Vale’s report of this afternoon of Early Dances below
Following a suggestion by Edith Campbell in 2023, The RSCDS Wellington Region decided to run an afternoon celebrating the Centenary of the Publication of Book 1 and did so in April 2024, featuring dances from Books 1-5. Following the success of this afternoon, the Region organised a second Early Dances Day on Saturday 12 April, 2025.
The event was held in St John’s Anglican Church Hall, in Bassett Road, Johnsonville, the white church on top of the hill.
The sesssion was taught by Elaine Laidlaw, accompanied by musicians Lynne Scott on the fiddle and Thomas Nikora on piano with Sam Berkahn filling in on the piano at the last second, until Thomas could get away from an unexpected commitment.
It was advertised as being suitable for people who had been dancing for at least two years and “For dancers who…have a reasonable level of fitness”. Fitness was definitely needed, dancing began at 1:00pm and continued to 4.30pm, although there was a very welcome break for a substantial afternoon tea, very kindly prepared for us by Elaine and Kevin Lethbridge.
The Early Dances Day was “exactly what it says on the tin”, a day (well an afternoon) of dances from the early books (in this case Books 6-12) published by the RSCDS. These are dances we don’t do very often these days.
Book 6 was published in 1930 and Book 12 in 1938, but thanks to the detailed notes written by Region President Rod Downey, we were able to discover that the dances we danced were all from long before then, mostly from around 1750.
The dances were not familiar and several had names that sounded strange to modern ears, such as Knit the Pocky and The Moudiewort. While not necessarily difficult, some had features to trap the unwary, like The Duchess of Atholl’s Slipper and Red House, with their idiosyncratic reels.
One of the noticeable features of these older dances is that dancers are expected to be prepared for some quite abrupt changes from one figure to another, unlike many modern dances in which the figures are carefully devised to flow. Thanks to Elaine’s careful tuition we managed them all without mishap.
When we went home at the end of the afternoon, it was with sore feet, aching muscles and a sense of achievement at having mastered some of the dances of nearly three centuries past.
The New Dancers’ Celebration is Wellington Region’s biggest annual event, celebrating those who have taken up Scottish Country Dancing in the past two years. To great astonishment, this year’s celebration had 19 sets taking to the floor—the largest celebration in the Region since pre-pandemic times!
The hall full of Scottish Country dancers at the beginning of the evening. Photo: Gaye Collin
Hosted by Lower Hutt and Upper Hutt Clubs on Saturday 12 October in the Knox Church Hall in Lower Hutt, with Chris Totton, Andrea Wells and Chris Kelly as MC’s, the evening was full of good cheer and lots of smiles.
Dancers came to the event from clubs throughout the Wellington Region. We also welcomed others from Whanganui, and RSCDS New Zealand Branch Secretary Joy Dick from Ashhurst.
The more experienced dancers helped the newer ones enjoy the special programme of easier dances, with the popular The Laird of Milton’s Daughter (with the Corner Chain formation) and The De’il Amang the Tailors (which can be devilishly fast) adding a few challenges.
Sets packed the hall for New Year Jig
Throughout the evening, we danced to toe-tapping music from Strings Attached—Lynne Scott on the fiddle, Sharlene Penman on the keyboard and Richard Hardie playing the double bass. Popular tunes were Anderson’s Rant, Flowers of Edinburgh and The Kissing Bridge.
Strings Attached: Lynne, Sharlene and Richard
A dance of regional significance was the strathspey The Halfway House devised by Elaine Laidlaw, which is a tribute to the Community House in Britannia Street, Petone where the Wellington Region Committee meets—the dance is published in The Wellington 60th Anniversary Collection.
Other dances devised by New Zealanders were New Year Jig by Wellingtonian Maureen Robson, which was on the programme for the Lower North Island RSCDS Centenary Ball in 2023, Balmoral Strathspey devised by John Charles, which was also on the programme for the Centenary Ball, and was the first dance from a Kiwi deviser adopted by the RSCDS, and Wellingtonian Romaine Butterfield’s Come What May and The Kissing Bridge.
The floor was full of sets for New Year Jig
A delicious supper provided by experienced dancers who came along was warmly welcomed by all halfway through this fabulous evening of dancing.
Thanks so much to Lower Hutt and Upper Hutt Clubs and their members for the work they did to put on this great celebration of dancing (especially as Lower Hutt had celebrated 70 years of dancing just a month before!).
Long may the joy and camaraderie of this night continue in our Scottish Country Dancing community!
Edith Campbell and Rod Downey with her Tribute from the Region in recognition of the generous giving of her time, teaching, creative and organisational skills to the Wellington Region over decades.
Edith gave over 60 years in the service of Scottish Country Dancing. She taught at many National and Regional events and at all levels, including RSCDS New Zealand Summer Schools in 1964, 1970 and 1978, and Region Day Classes and Region classes at all levels, including training teams for major demonstrations.
On 26 September 1984, a Wellington Region demonstration team took part in a celebration for His Excellency, the Governor-General Sir David Beattie’s wife’s birthday at Government House. Edith was in the team and played a selection of songs, ballads and airs on her Celtic Harp (cláirseach).
Back row: Simon Collin, Peter Elmes, Dave Macfarlane, His Excellency, the Governor-General Sir David Beattie, Damon Collin, Iain Boyd. Front row: Barbara Gill, Maureen Robson, Romaine Butterfield, Noeline O’Connor, Edith Campbell. Photo: Supplied
Bruce and Edith Campbell, organisers of the 1970-1971 Summer School in Wellington, with their family. Photo: New Zealand Scottish Country Dancer, 1971, p 17. Read an article from ‘Clanis Campbellis’ about this School published in the 1971 New Zealand Scottish Country Dancer Magazine.Wellington Region Diamond Jubilee Ball Committee in 2012: Michael Laidlaw, Eileen South, Shirley Kalogeropoulos, Elaine Laidlaw (MC), Charlotte Williams, Elaine Lethbridge, Edith Campbell, Bev Whitelaw (Convener).
Remarkably, Edith taught in the Wellington Region for at least 60 years including 10 years at Wellington Club. With her husband Bruce, she established the Seatoun Club where she taught for over 46 years, also having previously taught a children’s class in Newtown.
Bruce and Edith at the Wellington Region Jubilee Ball at Government House in 2012
Edith served continuously on the Wellington Region Committee since at least 2002. Most recently she taught at the Early Wellington Dances afternoon in 2023, which celebrated the role of the extended RSCDS Wellington Region as the well-spring of Scottish Country Dancing in New Zealand.
Edith singing A Guid New Year at the Early Wellington Dances afternoon in 2023 before teaching her dance To Ane An’ A’.
Beyond this, Edith was heavily involved in promoting all things Scottish throughout the Region, especially through her efforts in the Scottish Interest Group, playing her harp at many Region and Branch occasions, and providing the calligraphy for the Wellington Region 60th Anniversary Ball in 2021.
Edith at the left, as a member of the Wellington Region committee at the 60th Anniversary Ball in 2021.
Edith was known for her many writings about Scottish dancing and things Scottish, especially in her column The Spurtle-wielder, published continuously in the Wellington Region Harbour City Happenings newsletter since 1993.
There will be a memorial service for Edith at 2pm on 30 November at St Andrews on the Terrace in Wellington.
Rod Downey, President, RSCDS Wellington Region
Originally published in the RSCDS New Zealand Branch Kiwi News, Volume 29 No 3 October 2024.
On 26 September 1984, a Wellington Region demonstration team took part in a celebration for His Excellency, the Governor-General Sir David Beattie’s wife’s birthday at Government House.
Maureen Robson, who was in the demonstration team, wrote in the Tawa Scottish Country Dance Club News, 16 April, 2020:
“A memorable night – One night at the Upper Hutt dance Romaine asked if I was free the following Wednesday evening. I said I was and was invited to dance at Government House to celebrate Sir David Beattie’s wife’s birthday.
We danced in the ballroom where all the family and staff were present. We did some demonstrations and some audience participation with both the family and staff.
Peter Elmes played for us. Edith Campbell had her Celtic harp and she played and sang in between dances. We drank Lady Beattie’s health and ate birthday cake which had been piped in. We had our photograph taken with Sir David. It was an evening I shall never forget.”
Back row: Simon Collin, Peter Elmes, Dave Macfarlane, His Excellency, the Governor-General Sir David Beattie, Damon Collin, Iain Boyd. Front row: Barbara Gill, Maureen Robson, Romaine Butterfield, Noeline O’Connor, Edith Campbell. Photo: Supplied
A special celebration of our Dance Scottish history
Following the very successful Early Wellington Dances afternoon in 2023 to celebrate the RSCDS Centenary, the Wellington Region organised a special afternoon of Historical RSCDS Dances for intermediate dancers and above on Saturday 27 April 2024.
Close on 40 dancers from around the Region and Manawatū along with two visitors from Canberra, gathered in the St John’s Anglican Church Hall in Johnsonville, eager to try out dances not commonly done nowadays.
Wellington Region President and Johnsonville tutor Rod Downey selected and taught the dances. To add to this special afternoon, Lynne Scott and Sam Berkahn provided the music. We also welcomed Edith Campbell who had suggested having this afternoon of older dances.
Rod with Lynne on the fiddle and Sam on the cello
Source of the dances: RSCDS Books 1-5
RSCDS Book 1 was first published in 1924, meaning 2024 was the Centenary of this publication, the first of the numbered RSCDS Book series. Rod chose dances from RSCDS Books 1-5, all pre-1930.
These books contain 60 dances. Rod selected dances for the afternoon based on interest and danceability. He avoided dances that are relatively well-known, for example, Glasgow Highlanders.
He tried to feature a variety of formations, which is not an easy task when using the early books. For example, seven of the 12 dances of Book 1 finish with a poussette. Rod kindly did not wish to tire our legs out during the afternoon with an overabundance of Pas-de-basque so took care with his selection of dances. He included at least one dance from each of Books 1-5.
The music: A fun challenge to arrange the sets of tunes
Lynne says it was a fun challenge to put together sets of music for the early dances. To add an authentic feel of dancing during the times the dances were devised, over half the tunes she and Sam played during the afternoon were composed by famous fiddler/composers of the 18th century:
Niel Gow (b 1727)
Nathaniel Gow (his son, b 1763)
William Gow (another son b c.1750)
Robert Mackintosh (b 1750)
John RIddell (b 1728)
Alexander Gibb (b in 1700’s)
Malcolm MacDonald (b c.1740)
William Marshall (b 1748)
James MacDonald (b 1700’s)
Lynne adds the tunes were written and being danced to well before the invention of the accordion. A typical dance band of the time would have been fiddle (and/or perhaps flute/recorder) with cello.
To give us a taste of an authentic experience, Lynne played the fiddle while Sam played the cello for three dances (two reels and a strathspey) and keyboard for the others.
Sam’s music for playing the cello for The Triumph
The remainder of the tunes played were ‘traditional’ but also mostly from the 18th and 19th centuries.
The dances: Somewhat vigorous with unusual formations
Rod welcomed us to the afternoon, saying dances from Books 1-5 are ‘quite vigorous’, with some ‘tricky formations’. This proved to be so!
We started the afternoon with the jig Light and Airy Book 4, devised by William Campbell in 1790; a dance familiar to a number of us. Rod encouraged us to be ‘light or airy’ in our dancing to make the most of the music.
Then to The Triumph Book1, a reel Introduced by Nathaniel Gow in 1808. The unusual feature of this dance is a poussette for one couple, which required some practice under careful tutelage from Rod.
Lots of smiles while dancing The Triumph
We tried Lady Macintosh’s Rant next (also known as The Duke is Welcome to Inverness), a strathspey by Rutherford 1754 from Book 3. Rod shared he’d taught this dance at Johnsonville Club the previous week and discovered it had a bunch of hooks for both the tutor and dancers!
A tricky dance indeed, with the first couple starting on opposite sides and only returning to own sides when they reach the foot of the set. Some discombobulation was apparent during the dancing (you may spot a few perplexed faces in the photos).
Making sure you’re on the ‘correct’ side of the set in Lady Macintosh’s Rant
Rory O’More, a jig from Book 1 ‘collected locally’, was rather entertaining. In Rod’s old version of Book 1, the instructions indicate that after the first couple dances down the middle, for Bars 21-24 the first couple dance back up the middle backwards! This did feel slightly weird but I could imagine the ladies of the 18th Century, dressed in their long full gowns (with perhaps bustles), finding it easier to ‘retire’ rather than turning around in the middle of the set before dancing back to the top.
Haughs o’ Cromdale Book 4, a 16 bar strathspey from the 18th Century ‘collected in Galloway’ also had some interesting quirks, with a version of the Diamond Poussette danced using Highland Schottische which stretched our brains.
Lynne says an interesting link with New Zealand arose when she was researching Joseph Lowe (b 1796) who wrote the second tune played for this dance. Joseph was a dance teacher for the Royal Family at Balmoral and Windsor. One of his sons emigrated to New Zealand and taught dance here. His family continued the dance tradition, with one of the grandsons being Sir Jon Trimmer, the renowned ballet dancer.
A break for our brains and bodies was needed after the complex array of dances we’d tried out during the first half of the afternoon. Thanks so much to Elaine and Kevin Lethbridge for preparing and bringing along a sumptuous afternoon tea for all of us to enjoy (including gluten free and dairy free options for those with restrictive diets).
Fortified with great food and a cuppa, we set forth to find out more about The Princess Royal Book 2, a 28 bar reel collected around 1850. This is the only 28 bar RSCDS dance Rod knows of. Lynne says it was a particular challenge to put together the set of music for this 28 bar dance! Although it had Pas-de-basque in the Half Petronella, I thought the tempo of the dance was perfect and the dance didn’t overly tax my legs.
The Haymakers, a 48 bar jig in Book 2 from around 1761 or earlier, contains running step which was popular in some of the old dances, such as this one and Strip the Willow. We are probably more likely to come across this dance at a ceilidh nowadays than at a Scottish Country Dance.
Zooming around the floor using running step in The Haymakers
The Duke of Hamilton’s Reel, a strathspey from 1754 in Book 5, has an intricate start as the first man turns the second woman right hand one and a half times at the same time as the first woman and second man turn. Once we mastered that, we realised an aide-mémoire was sometimes needed for the second couple, as on bars 9-10 they needed to move down and then move back up on bars 13-14.
Rod chose to finish the afternoon with The Merry Dancers Book 4, a jig from1827. Quite a vigorous dance with some strong turns needed plus setting to and turning corners. And finally Dumbarton Drums Book 5. A reel from 1816 danced to uplifting traditional tunes.
Thanks so much to Rod for all the work he put into researching dances from so back in our Scottish Country Dancing history and selecting and teaching the dances in his thought-provoking, balanced programme.
Thanks also to our musicians Lynne and Sam for all the research into authentic music, arranging the lovely sets of tunes and playing for us all afternoon. It’s marvellous to have such outstanding live music available in Wellington to enhance the joy of the dance.
And thanks to the dancers who came along to try the host of unfamiliar dances and help each other through the unusual formations, and to all others who helped make this afternoon of historical RSCDS dances such a memorable occasion.
For the RSCDS New Zealand Branch Summer School 2023-2024, it was the turn of the Nelson/Marlborough Region to host us in Nelson—billed as the place for dancing, sun and friendship!
Catching up with old friends from around New Zealand and the world, together with making new friends, is one of the highlights of Summer School. On the first night of dancing, as the laughter and chatter echoed around the hall, I wondered what fun was in store for us at classes, evening functions and other social activities.
A Hogwarts fancy dress night set the scene for many amazing costumes, along with dances fitting the theme and lots of smiles and laughter. I managed to concoct a ‘Hedwig the Owl’ costume entirely from bits and pieces I found at home, with a mask template downloaded from the web.
Loralee dancing Slytherin House as Hedwig. Photo: Tim Cuff, Nelson Creative
Remarkably, I danced Slytherin House partnered by ‘Fluffy’, the three-headed dog (three dancers dancing as one). The rest of the set was very accommodating, particularly while dancing the Snake Pass!
Fluffy, the three-headed dog!The band—Ian Telfar, Jason Morris, Hilary Ferral and Aileen Logie—dressed up as characters from Hogwarts and played spooky, supernatural music to fit the theme, especially for Slytherin House.
At Hogmanay, it was a delight to see dancers enjoying the strathspey Feshiebridge, devised by long-time Wellington Region tutor Gary Morris. Other popular dances included the old favourite Glasgow Highlanders, and Scott Meikle with much joyful birling.
Enjoying birling in Scott Meikle!
Although morning classes cover the serious business of step practice, learning new formations and dancing together as a team, there are plenty of fun-filled moments. I enjoyed three mornings dancing with the Social Class tutored by Ann Oliver where there was an intense focus on learning about the intricacies of dances and the music, with Lynne Scott on the fiddle.
Ann wrote the dances of each day on a board as an aide-mémoire for us. Lo and behold … there were fine artists amongst us who drew cartoons representing each dance on the board! Resulting in lots of laughter and discussion as well as providing visual clues to help us remember the dances.
Our dances on Day Four of the Social Class provided plenty of inspiration for the cartoonists.
My joy of dancing is equalled by my love of our native bush and wildlife. On one afternoon excursion, a group of us went to the Brook Waimārama Sanctuary, a stunning haven for our unique biodiversity. How relaxing it was to stroll along the tracks through the bush and along Brook Stream in the fresh air; recuperation for our brains which had worked so hard at classes and evening functions, and for our sore legs.
Strolling along the tracks of the Brook Waimārama Sanctuary—a quite different activity to Scottish Country Dancing, but still providing the many benefits of fun, fitness and friendship.
Summer School ceilidhs are full of clever, entertaining items ranging from performances by musicians to recitations, to singing, along with (sometimes quite wild!) dancing. Superbly organised and MC’d by Ruth Budden, the Nelson ceilidh was no different.
Ruth was also the tutor of the Teacher Training Class, but somehow she found the time to teach some other Scottish Country Dancers some Rock and Roll moves. Well done all!
Ruth and Jenn, Su and Ian and Katherine and Andrew show off their fabulous costumes and rocking and rolling skills
At the ceilidh, a group of Wellingtonians including the 2024-2025 Summer School Organiser Ann Oliver and members of the Committee, danced Catch the Wind (devised by Romaine Butterfield) to welcome everyone to the next Summer School in Wellington. This dance ties in with the catch cry of the School—You’ll be blown away by a Wellington welcome!
Philip, Andrew, Margaret, Ann, Peter, Michele, Lee and Jeanette dancing Catch the Wind with Helen and Loralee ensuring the Wellington Summer School banner wasn’t blown away! Photo: From RSCDS New Zealand Branch video
In a nod to the ‘windy’ theme of the next Summer School in Wellington, the last dance on the Final Night was The Wind That Shakes the Barley.Watch this video from the RSCDS New Zealand Branch to see the joy of the dance. Hear the fabulous music from the band alongside musicians from the Summer School Musicians’ Class led by Lynne Scott! And hear the whoops of joy at the end!
Thanks so much to Doug Mills and Lynda Aitchison and their committee for organising the Nelson Summer School, and thanks to the tutors, musicians, MCs, gofers, makers of morning teas, drivers, photographers, videographers and others who helped make this such a fun and successful get-together.
I do recommend coming along to enjoy all the fun and friendship at the Wellington 2024-2025 Summer School. Find out more and register here
Just under seven sets of dancers welcomed in the New Year at the 2023 Wellington Region Hogmanay at Crofton Downs School on 31 December 2023. Thanks so much to Chris Totton and Anna Verheagh for organising this significant event on the Scottish Country Dancing calendar, preparing the excellent programme and MC’ing the evening.
It was wonderful to welcome Edith Campbell who came with her daughter Fiona and her husband from Scotland, adding an international touch to this successful event.
The crowd danced the night away to lively music from Iain Matcham on fiddle and Jean Malcolm on keyboard. Thanks also to Janice Henson for representing the Region President, John Gregory as the First Foot and Joy Tracey for the photos.
See the photos in the gallery below:
Wellington Region Hogmanay 2023 Photos: Joy Tracey
At the 2023 Wellington Region New Dancers’ Celebration, more than 80 dancers, including 30 newer dancers, took to the floor on 7 October in the Wairarapa College Hall in Masterton.
Hosted by Carterton Club, with former Wellington Region President Elaine Laidlaw as MC, the evening was full of smiles and laughter as the more experienced dancers helped the newer ones enjoy the programme of relatively well-known and easier dances with a scattering of those we’ve not encountered as often.
To celebrate the Centenary of the RSCDS over 130 people keen to dance and socialise filled the floor at the Lower North Island RSCDS Centenary Ball at the College Street School Hall in Palmerston North on Saturday 4 November.
The RSCDS Hawke’s Bay, Rangitikei and Wellington Regions combined to host this Tri-Region Ball to celebrate the role of the ‘fertile crescent’ from Hawke’s Bay to Whanganui through to Wellington as the well-spring of Scottish Country Dancing in New Zealand.
Morison’s Bush in the Wairarapa was the venue of the first Scottish Country Dance Balls ever held in New Zealand. The Foreword of The Morison’s Bush Collection says “For Country Dancers in the Wellington, Wairarapa and Hawke’s Bay area it [Morison’s Bush] was for many years the centre of social life and dances there were not to be missed.”
The hall full of dancers at the North Island RSCDS Centenary Ball enjoying Morison’s Bush devised by Ken Shaw in 1954.
Stunning floral arrangements prepared by local dancers brightened up the entry to the hall where we were welcomed by Ian and Sue Pearson (Rangitikei Region). Inside the hall, more floral arrangements decorated the front of the stage and bunting provided by Johnsonville and Napier Clubs streamed overhead.
Portraits of the two co-founders of the RSCDS in 1923—Miss Jean Milligan and Mrs Ysobel Stewart—graced the wall behind the band.
A brace of unicorns by the stage attracted attention. How are unicorns connected to Scottish Country Dancing? The unicorn is Scotland’s national animal and represents Scotland in the British Coat of Arms. So the unicorns provided a link to our Scottish heritage.
Dancers from as far afield as Auckland, the Waikato and Invercargill, including RSCDS New Zealand Branch President Linda Glavin from Blenheim and President Elect Debbie Roxburgh from Whanganui, enjoyed the 19 dances on the programme.
Almost all New Zealand devisers who have had dances published by the RSCDS had one dance included in this programme (14 dances). The remaining five were well-known RSCDS dances including homages to Miss Jean Milligan and Mrs Ysobel Stewart.
Twenty-seven past and present tutors from the Lower North Island attended the Ball. Seventeen long-standing tutors were honoured by each briefing a dance at the occasion (the dances are noted below next to the briefer). Linda Glavin briefed Petronella. Debbie Roxburgh took on the task of overall MC’ing of the evening, including introducing each tutor.
From left: Melva Waite (The Reverend John MacFarlane), Maureen Robson (New Year Jig), Val Mitchell (Seton’s Ceilidh Band), Catherine Edwards (Balmoral Strathspey), Joy Tracey (The Meeting of the Waters), Chris Kelly (Best Set in the Hall), Catherine McCutcheon (Mildred Clancey’s Strathspey), Ann Oliver, Jeanette Watson (The Reel of the 51st), Ronni Cullen, Debbie Roxburgh (Morison’s Bush), Andrea Wells, Elaine Laidlaw (Gary Morris), Margaret Bailey-Allison (Oriel Strathspey), Philippa Pointon (A Gift from Heaven), Rod Downey (Dancing Spirit and The Duke and Duchess of Edinburgh) , Diane Bradshaw (Miss Milligan’s Strathspey), Chris Totton, Elizabeth Ferguson (Mrs Stewart’s Jig), Edith Campbell (Catch the Wind), Michael Laidlaw, Dot Morgan, Elaine Lethbridge, Barbara Gill, Lyn Picone, Isabel Jackson (Pelorus Jack). (Nicole Trewavas was working in the kitchen).
Sharlene Penman (Christchurch), Anne-Marie Forsyth (Auckland) and Iain McKenzie (Queensland) with portraits of Miss Milligan and Mrs Stewart in the background.
Directed by Michael Laidlaw (Wellington Region), the Grand March was piped in by Nicole Trewavas (Rangitikei Region) who was also on the organising committee.
Piper Nicole Trewavas with a young learner from the Celtic Spirit Pipe Band (and one of the unicorns)
The front row of the Grand March included members of the organising committee—Jeanette Watson (Wellington Region), Mary Hawkes (Rangitikei Region), Michele Miller (Wellington Region), Rangitikei Region President Glenice Saunders, Wellington Region President Rod Downey and Hawke’s Bay Region President Isabel Jackson.
RSCDS Hawke’s Bay Region President Isabel Jackson, Wellington Region President Rod Downey, Rangitikei Region President Glenice Saunders, New Zealand President Linda Glavin
Following the Grand March, the dancing began with dancers filling the floor for New Year Jig.
New Year Jig devised by Maureen Robson.Oriel Strathspey devised by Ian Simmonds
A highlight of the evening was Wellington Region President Rod Downey presenting a Tribute to Edith Campbell in recognition of the generous giving of her time, teaching, creative and organisational skills to the Wellington Region over decades. Congratulations Edith and thank you for over 60 years of service to Scottish Country Dancing. See the full citation for her award
Rod Downey presenting Edith Campbell with her Wellington Region TributeGary Morris devised by Alec HayPrior to supper, Glenice, Rod and Isabel cut the celebratory RSCDS Centenary cake, to be enjoyed by all at supper.
The delicious spread (including plenty of options for the dietary-restricted) was organised and prepared by Nicole Trewavas and members of the Celtic Spirit Pipe Band as a fundraiser for the band. There was such an abundance of food, we enjoyed a second supper at the end of the evening.
After supper, dancing resumed for the second half of New Zealand devisers’ dances interspersed with old favourites.
Pelorus Jack devised by Barry SkeltonMildred Clancey’s Strathspey devised by Jennie Miller
This celebratory evening of dancing ended with the energetic The Duke and Duchess of Edinburgh in memory of Her Majesty, our immediate past Patron.
Click on the arrows below the gallery to see an image for each of the 14 dances devised by New Zealanders.
New Year Jig devised by Maureen Robson
Morison’s Bush devised by Ken Shaw
The Meeting of the Waters devised by Iain Boyd
Oriel Strathspey devised by Ian Simmonds
Catch the Wind devised by Romaine Butterfield
Gary Morris devised by Alec Hay
Balmoral Strathspey devised by John Charles
Pelorus Jack devised by Barry Skelton
The Reverend John MacFarlane devised by Gary Morris
Dancing Spirit devised by Amy Luxton-Esler
Mildred Clancey’s Strathspey devised by Jennie Miller
Best Set in the Hall devised by Helen Greenwood
A Gift from Heaven devised by Norman Whitson
Seton’s Ceilidh Band devised by Bruce Fordyce
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As Rod commented at the end of the evening:
“It is not often the RSCDS has a Centenary, and I believe this has been a wonderful showcase of all the good things about Scottish Country Dancing. We have also celebrated the rich history of Scottish Country Dancing in New Zealand.”
Considerable work is needed to make sure an event like this is a success. Thanks so much to the Tri-Region committee for working together to organise this splendid celebration; the RSCDS New Zealand Branch for a grant to support the night, enabling us to have the wonderful Balmoral Band playing; Rod Downey and Iain Boyd for preparing extensive notes on the devisers and the dances selected for this evening.
Thanks also to the decorators of the hall including beautiful floral arrangements; all those who helped with the hall-set-up and packing-up; Debbie Roxburgh for MC’ing a somewhat non-standard night of dance; Michael Laidlaw for organising the Grand March; Nicole Trewavas for her piping and providing supper together with members from the Celtic Spirit Pipe Band; the briefers who entered the spirit of the occasion, especially as a number of dances were not well-known; Duncan, Mary and Alastair McDonald for equipment and technical expertise; Pat Reesby for videography; and Loralee Hyde for communications, timelines, posters, website stories and historical research, as well as her photography which provides a great record of this celebration.
And special thanks to all the dancers who supported the night, some coming a long way, but all entering the spirit to make the night a memorable occasion.
