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!
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.
This year, 2023, is the Centenary of the founding of the RSCDS. It is also the 70th Anniversary of the formation of the Wellington-Hawke’s Bay Association in 1953. This was the first Scottish Country Dancing association in New Zealand, which later morphed into the RSCDS New Zealand Branch
See a ‘potted history’ of the Wellington-Hawke’s Bay Association and of organised Scottish Country Dancing in New Zealand from 1953-1978 in this copy of the Foreword to The Morison’s Bush Collection
In 1993, to celebrate the 40th Anniversary of the Wellington-Hawke’s Bay Association and the 25th Anniversary of the founding of the New Zealand Branch of the RSCDS, dancers gathered in Napier for a Jubilee Weekend from 8-10 October.
Grand March at the 40th Jubilee: Piper Bruce Fordyce. Front row from left: Nancy Baxter, Dorothy Claypole, Peg Hutchison (Wellington Region President for four years in the 1970s), Marion Cunningham, Wellington Region President Carol Smith, Hawkes Bay and East Coast Region President May Brooker, New Zealand Branch President Min Jaeger, Carine Mayhew
Below is a piece about the Jubilee celebrations from the organiser Carine Mayhew extracted from the New Zealand Scottish Country Dancer Volume 41, 1994 p17.
Happy celebrations
1993 was an important for Scottish Country Dancing in New Zealand—it was 40 years since the forming of the first Association of Scottish Country Dance CIubs.
In 1953 the Wellington-Hawkes Bay Association was formed from clubs in Wellington, Lower Hutt. Wallaceville, Hastings, and Whakatane, with affiliated clubs in Napier, Napier Boys’ High School and Paraparaumu.
Also it was the 25th Anniversary of the founding of the New Zealand Branch of the RSCDS. What better reasons could we have to celebrate? On the weekend of 8 to 10 October 1993, dancers from Hamilton to Christchurch gathered in Napier to do just that.
From the Friday night Social Get-together, arranged by Madge Laing, to the Sunday Combined Classes and final lunch everyone appeared to have a happy and enjoyable time. which was the Region‘s aim.
Some 120 dancers from 25 clubs attended. Classes were held on the Saturday with Dianne Murdoch taking the Intermediate Class and Gary Morris the Advanced Class, and on the Sunday morning each took a Combined Class. The fact that eight sets were on the floor at 9.00am to commence the first class was an indication of the enjoyment and enthusiasm.
Gary Morris dancing Alec Hay’s Gary Morris Jig from The Morison’s Bush Collection at the 40th Anniversary in Napier. Photo: A History of Scottish Country Dancing in New Zealand, p151
On the Saturday afternoon four sets of dancers from the Hawkes Bay and East Coast Region gave a display at the ‘Charity Tattoo in the Spirit of Hawkes Bay’ at McLean Park, which was organised and hosted by the Napier Caledonian Society and the Napier City Council.
The dances performed were The Reel of the Royal Scots, The Robertson Rant and the Thirty-two some Reel, which were well received.
However, the highlight was to have the special guests with us who were involved in the forming of the Wellington-Hawkes Bay Association 40 years ago.
These were Marion Cunningham of the then Wallaceville Club (now Upper Hutt), Bruce Fordyce of the Hastings Club, Nancy Baxter (founder of the Napier Club), and Jessie and Les Coe of Morison’s Bush, who arranged the first Scottish Country Dance Ball in New Zealand and hosted the ‘travellers’ at their farmhouse or the barn—wherever there was space to “put a body”!
Mary and Bruce Fordyce from Hastings with, in the front, Jessie and Les Coe and Shirley Doherty (nee Coe) from Morison’s Bush.
Maurice Colbourne, originally from the Hastings Club, was to have attended but unfortunately had to cancel at the last minute. We were delighted to have our New Zealand Branch President, Min Jaeger, with us for the weekend, and also Ian Seton from Tauranga, Jack Seton’s son.
Jack, who will be remembered by many, was the prime instigator of the original Association, and who will forget his enthusiasm and wonderful organising abilities. Alma Secker from Featherston was there too, as she was at the first Summer School which was held in Napier in 1953.
Alma Secker, Bruce Fordyce, Nancy Baxter, Ian Seton, Mary Fordyce
Our Guest Speaker at the Dinner on the Saturday night was Bruce Fordyce, who spoke vividly of those early days. May Brooker, President of the Hawkes Bay and East Coast Region, and Carol Smith, President of the Wellington Region, spoke on behalf of their respective Regions.
Bruce also piped for the Grand March, playing a tune called Dancing Years which he had composed especially for the gathering.
The evening was a happy affair, with the MC duties shared between Joy Tracey and Gary Morris, continuing the Wellington-Hawkes Bay theme. Our Anniversary cake, which was made and iced by local dancers VaI Darragh and Margaret Vas, was cut by Min after she had given a delightful speech.
Forty years may have rolled on, but the enthusiasm is still there, as commented on by our special guests. We have much for which to thank them. They introduced us to a wonderful interest and the opportunity of making lasting friendships. Long may we retain these happy associations!
Carine Mayhew 1993
Photos supplied by the Fordyce family, except where otherwise noted
Wellington-Hawke’s Bay Association 50th Anniversary Ball
in conjunction with
Wellington Region Weekend School: 25-27 April 2003
Formed in 1953, the Wellington-Hawke’s Bay Association was the first Scottish Country Dancing association in New Zealand. This association later morphed into the RSCDS New Zealand Branch
To celebrate the 50th Anniversary of the Wellington-Hawke’s Bay Association, dancers from around the country enjoyed an Anniversary Ball on Saturday 26 April 2003 in conjunction with a Wellington Region Anzac Weekend School at Onslow College.
With Carol Smith as convener (centre in the image below), the weekend school was promoted as:
The Place To Be in April 2003
Highlights of the 50th Anniversary Ball
A programme of well-known dances for all to enjoy
24 sets on the floor
Music from Peter Elmes((Tributes to Peter Elmes following his retirement from playing his accordion for 60 years in Wellington Region and throughout New Zealand, Harbour City Happenings, Volume 21 No. 3, December 2018)), Lynne Scott and John Smith
Floor show prepared by Ian Simmonds((Ian Simmonds retires after 52 years of teaching Linden Club, Harbour City Happenings, Volume 14, No. 2, July 2011))
The 50th Anniversary Ball Programme: Well-known dances for all to enjoy
Below is a piece about the 50th Anniversary Ball by Carol Smith, extracted from her article on the Wellington Region Anzac Weekend School published in Harbour City Happenings Vol 6, No. 3 July 2003, p4-5, with accompanying photos (photographer unknown).
“The Saturday evening function at Onslow College, the Anniversary Ball celebrating the 50th Anniversary of the Wellington-Hawke’s Bay Association, was a superb night and it was a wonderful sight to see 24 sets on the floor with so little room between sets. Perhaps a little tight for dancing, but it gave a great atmosphere.”
“From the Grand March to the last dance the hall seemed to be buzzing and although a formal night was also great fun.
It was nice to be able to welcome the NZ Branch President Jenny Kuttel, the Region President Chris Kelly, along with many other Branch and Region executive members and make a special welcome to Bruce and Mary Fordyce. Bruce being the only member of the original Wellington-Hawke’s Bay committee still dancing.
The floor show prepared by Ian Simmonds was great entertainment and it was a delight to see a set of dancers enjoying themselves so much. Thank you Ian and the team for a great effort.
Peter Elmes, Lynne Scott and John Smith provided great music and it just seemed that the dancers and the band sparked off each other, responding to each others enthusiasm.
Janice Henson provided a lovely cake celebrating the 50th Anniversary. All in all a great night.”
The cutting of the cake was shared by Bruce Fordyce (one of the original committee members of the Wellington-Hawkes Bay Association), Peg Hutchison((Peg Hutchison Wellington Region President for four years in the 1970s; RSCDS New Zealand Branch President 1985-1986; RSCDS New Zealand Branch Life Member 1998)) and Gary Morris((Gary Morris Extract from Sociable Carefree Delightful A History of Scottish Country Dancing in New Zealand 1995 p150-151)) (long-time Region tutor and RSCDS examiner).
Lynne Scott, John Smith and Peter Elmes from the band are on the stage behind the group cutting the cake.
Highlights of the Anzac Weekend School: 25-27 April 2003
A digital copy of the 2003 Wellington Region Weekend School Brochure. Original printed brochure kindly supplied by Margaret Bailey-Allison
Intermediate/Elementary: Philippa Pointon, Wellington (Johnsonville Club President at the time)
New Dancers: Maureen Robson, Wellington
JAMS: Melva Waite, Wellington
Musicians
Special Guest Musician: Jennifer Foong, Sydney
Other Class Musicians: Merren Simmonds, Peter Elmes, John Smith, Gary and June Stratton
Fiddlers Class: Guest Teacher Cathy Fraser, Australia
Read about the fun of the dancing and social activities at the April 2003 Wellington Region Weekend School in this review by Ellen Bracefield (‘a weekend school novice’), Harbour City Happenings Vol 6, No. 2 May 2003, p3.
A weekend to remember!
Thank you to all those who contributed to the success of this celebration of the 50th Anniversary of the Wellington-Hawke’s Bay Association and the Region Anzac Weekend School, particularly Convener Carol Smith and her committee of Eileen South, Shirley Kalogeropoulos, Ian Taylforth and John Gregory.
As Ellen said in her review of this celebration, “Anzac Weekend School in Wellington was the place to be in April 2003”.
A unique experience of our Scottish Country Dancing history
A lively crowd of close to 60 dancers from clubs across the Wellington Region along with Auckland tutor Katharine Hoskyn and a visitor from the UK, gathered at St John’s Anglican Church Hall in Johnsonville on Saturday 29 April for an afternoon of trying out dances from our past.
As part of the RSCDS Centenary Events, this special occasion celebrated the role of the extended RSCDS Wellington Region as the well-spring of Scottish Country Dancing in New Zealand.
Over the afternoon, four long-time tutors from the Region—Iain Boyd, Romaine Butterfield, Edith Campbell and Elaine Laidlaw[1]—taught dances from the early days of Scottish Country Dancing in the lower North Island.
The tutors selected dances from The Morison’s Bush Collection (published in 1978 to mark the 25th Anniversary of the founding of the Wellington/Hawke’s Bay Association of Scottish Country Dance Clubs), The Harbour City Collection (published by the Wellington Region in 1986), Silver Threads (published for the RSCDS New Zealand Branch 25th Anniversary in 1993) and The Linden Collection (dances devised by Wellington Region tutor Ian Simmonds).
To set the scene, tartan bunting and historical photos decorated the walls of the hall along with posters containing brief summaries of the tutors’ contributions to Scottish Country Dancing and photos of them MC’ing noteworthy events in the Region.
Tartan bunting and historical posters and photos set the sceneThe hall at Morison’s Bush, thought to have been the Church of England Institute at Featherston Military Camp in 1916-1921. Moved to Morison’s Bush circa 1922. It burnt down on 14 Oct 1989. Photo: TH Daniell. Masterton District Council Archives
To add to this unique experience, The Cranberry Tarts—Aileen Logie and Hilary Ferral—provided music for the afternoon from the original tunes and arrangements used by Peter Elmes[2].
The Cranberry Tarts – Aileen Logie and Hilary Ferral
A sizeable number of tutors from clubs in the Region from Carterton in the Wairarapa to Waikanae on the Kāpiti Coast attended the event.
Wellington Region Tutors at the event: Iain Boyd, Melva Waite, Rod Downey, Edith Campbell, Diane Bradshaw, Romaine Butterfield, Jeanette Watson, Elaine Lethbridge, Elaine Laidlaw, Barbara Gill, Elizabeth Ferguson, Michael Laidlaw
Welcoming everyone to the occasion, event organiser Rod Downey explained the event was a celebration of the extended region as the ‘cradle of Scottish Country Dancing’ in New Zealand.[3]
He emphasised the stars of the afternoon were the old dances, with the stellar group being the well-regarded tutors.
Programme organiser Iain Boyd introduced the teacher for each dance, mentioning many of the dances have special music with arrangements by Peter Elmes.
We took to the floor for Elaine Laidlaw’s first dance, Mirth’s Welcome (The Morison’s Bush Collection), devised by her husband Michael Laidlaw[4] for Mirth Smallwood[5], a long-time tutor of Kelburn Club. Mirth went away to Rarotonga for a time and Michael took over teaching Kelburn during that period. He devised the dance for her return in June 1969, and also composed the music.
Elaine Laidlaw teaching Mirth’s Welcome (with videographer John Patterson at the rear)Dancers filled the hall for the first dance, Mirth’s Welcome
After a brief break to regain our breath, Edith Campbell taught her dance To Ane An’ A’ (The Harbour City Collection). She explained we celebrate the arrival of a new year at Hogmanay by singing the traditional Scottish song A Guid New Year (which she sang to us). She thought a celebratory dance was also needed, so devised To Ane An’ A’ as a Round-the-Room dance to encourage dancers to wish a good new year to ‘one and all’. Tom Barnes[6], a Wellington accordionist in the 1980s, arranged the music.
Edith Campbell singing us the traditional Scottish song A Guid New YearEnjoying the dance To Ane An’ A’
Iain Boyd took us through Under A Shady Tree (Silver Threads) devised by his wife, Wellington tutor Noeline O’Connor. This dance is connected to summer dancing in the past on the Puriri Lawn in Wellington Botanic Garden where a seat around a large puriri tree provided respite for the dancers from the sun. The music is traditional.
Ian Simmond’s[7]dance Percy Reserve (The Linden Collection) commemorates the many years summer dancing was held at Percy Scenic Reserve in Lower Hutt. Romaine Butterfield described how hordes of dancers met on the lawn near the duck pond on balmy summer nights. She said it was essential to “watch out for low-flying ducks” when dancing! Peter Elmes composed the tune Dancing on the Lawn.
Romaine Butterfield teaching Percy Reserve1955: Summer Dancing in Percy Reserve, Wellington Evening Post Scottish Country Dancers at Percy Scenic Reserve, Korokoro, Lower Hutt. Evening post (Newspaper. 1865-2002) :Photographic negatives and prints of the Evening Post newspaper. Ref: EP/1955/2562-F. Alexander Turnbull Library, Wellington, New Zealand. /records/22736027Enjoying the dance Percy Reserve
After four energetic dances, people chatted about the programme being rather exhausting, both physically and mentally. Before tackling Govandale Reel, (a 48-bar jig!), Rod shared a brief pertinent comment from our distant past:
”It is perhaps significant that these dances, from completely different sources, all show a tendency which could be characteristic of dancing in our vigorous young country.”
Following a well-earned break for afternoon tea, Romaine taught her dance Joy Be Wi’ You (The Morison’s Bush Collection), a 5-couple dance with marvellous traditional music. She hoped the “joy would be with us” throughout the dance. Indeed, plenty of smiles and laughter from the dancers lit up the floor.
Smiles and laughter while balancing in line in Joy Be Wi’ You
Elaine returned to the floor to teach Feshiebridge devised by long-time tutor Gary Morris[8] in Edinburgh in 1962. The beautiful Feshiebridge crosses the River Feshie in the Cairngorms, conveniently located near a distillery! Gary also composed the music which was recorded by Peter Elmes, John Smith and Lynne Scott on the Scottish Country Dancing CD Thistle Hall.
Feshiebridge in the Cairngorms. Photo: LovecairngormsLeading down the middle in Feshiebridge
Iain taught the last dance of the afternoon, Kelburn’s Reel (The Morison’s Bush Collection) devised by long-time tutor Betty Redfearn[9] for the 10th Anniversary of Kelburn Club in 1969. This cheerful and social Round-the-Room dance was a perfect ending to a superb afternoon of dancing, listening to Peter Elmes’ arrangements of tunes and socialising.
Iain Boyd teaching Kelburn’s Reel Dancing Kelburn’s Reel with Iain Boyd at the right
Considerable work is needed to make sure an event like this is a success. Thanks so much to Region President Rod Downey for organising the afternoon, Iain Boyd for organising the programme, Kristin Downey and the Johnsonville team for the hall decorations, Elaine Lethbridge for hall-setup and preparing the delicious afternoon tea, Kevin Lethbridge for hall-setup and on the door, Loralee Hyde for promotion, communications and photography, and John Patterson for videography.
Videographer John Patterson and photographer Loralee Hyde. Photo: Désirée Patterson
A special thank you to the four tutors, Iain Boyd, Romaine Butterfield, Edith Campbell and Elaine Laidlaw, for the time they took to select, research and teach their chosen dances. We very much appreciated their knowledge, expertise and insights into the Scottish Country Dancing history of our region.
Thank you also to the Cranberry Tarts, Aileen Logie and Hilary Ferral, for their marvellous playing, bringing back so many memories of Peter Elmes’ fine arrangements of tunes.
[2]Tributes to Peter Elmes following his retirement from playing his accordion for 60 years in Wellington Region and throughout New Zealand, Harbour City Happenings, Volume 21 No. 3, December 2018
[3]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.”
