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.
Below are stories of the devisers and dances on the programme for the Lower North Island RSCDS Centenary Ball on 4 November 2023, compiled by Iain Boyd and Rod Downey.
Almost all New Zealand devisers who have had dances published by the Society have one dance included in this programme.
Where available, photos/videos of the devisers/their dance/the subject of their dance are included (the majority of the photos/videos were taken in the Lower North Island), compiled by Loralee Hyde.
Download PDFs of the notes only (no photos or videos)
Maureen Robson is a well-known Wellington tutor who has served several roles in the Region. She has also taught nationally. New Year Jig was devised in 1995, as a means of teaching reels to a children’s class. It has been very popular in New Zealand for many years, but was not published by the RSCDS until 2017, in Book 51, which has the subtitle ‘Scottish Country Dances for Young and Less Experienced Dancers’.
The music was composed specially for Maureen by the late Peter Elmes, the first tune being Maureen Robson’s Jig. Maureen was the tutor of the Tawa Club for 38 years before retiring in November 2019. She published a collection of her dances (along with music composed by Peter Elmes) in ‘From North To South’ in 2019.
2019: At a special dance to pay tribute to Maureen Robson who retired after teaching the Tawa Club for 38 years, Maureen and Iain Boyd dance The King of Spain’s Daughter, a dance devised by Iain for Maureen. Photo: John Patterson
Morison’s Bush (3C – 40 – R) Ken Shaw Morison’s Bush
This is probably the first dance devised in New Zealand and certainly the earliest dance in this programme. Morison’s Bush was devised in 1954 and the instructions published in the same year in the first issue of ‘The New Zealand Scottish Country Dancer’. The original tune was composed by Charlie Jemmett, a leading musician in the early years of dancing in New Zealand.
Ken Shaw was President of the Whakatane Club. For many years, Morison’s Bush was for country dancers in the Wellington, Wairarapa, and Hawke’s Bay the centre of social life and dances there were not to be missed. Morison’s Bush was the site of the first Scottish Country Dance Ball in New Zealand.
Original Committee Members of the Wellington/Hawke’s Bay Association. Back Row from left: W McPherson (Vice President); H Dodd, A Douglas, Bruce Fordyce, Ken Shaw, Maurie Colbourne. Seated: Shirley Childs (Secretary-Treasurer), Marion Cunningham (first editor of the ‘NZ Dancer’), Jack Seton (President), P Lynds, Nora Sharp. Photograph taken at the second dance at Morison’s Bush. Photo: The Morison’s Bush Collection
Bruce Fordyce (Back row, fourth from the left in the above photo) devised the dance Seton’s Ceilidh Band (which is on the Ball programme) to commemorate Jack Seton (Front row, centre), who was the original President of the Wellington/Hawke’s Bay Association.
1953: The second Morison’s Bush Ball. Photo: Supplied by the Fordyce familyDancing at a Morison’s Bush Ball. Photo: Supplied by the Fordyce family
Miss Milligan’s Strathspey (3C – 32 – S) RSCDS Leaflet
What needs to be said? Miss Jean Milligan is the most famous name in the RSCDS. She was one of the two co-founders of the Society in 1923. Dr Milligan was the central force promoting Scottish Country Dancing worldwide. She made a three-week visit to New Zealand in 1974. Miss Milligan’s Strathspey was devised by an RSCDS committee and has a very nice lead tune.
1927: Co-founders of the RSCDS, Jean Milligan and Ysobel Stewart, outside University Hall, St Andrews. Photo: RSCDS Archives1962: Miss Milligan with Gary Morris (his dance The Reverend John MacFarlane is on the Ball programme). Photo: RSCDS New Zealand Archives2021: Dancing Miss Milligan’s Strathspey at Ngaio Club’s 50th Anniversary Photo: John Patterson
Mrs Stewart’s Jig (3C – 32 – J) 35/1
Mrs Ysobel Stewart of Fasnacloich was the other co-founder of the RSCDS. She had the idea of forming a group to promote our pastime and served as Secretary for 10 years before moving to South Africa, where she continued to work supporting the society. Again, Mrs Stewart’s Jig was devised by an RSCDS committee and has a strong lead tune.
1936: Ysobel Stewart (5th from the left) with a group outside University Hall, St Andrews. Photo: RSCDS Archives
The Meeting of the Waters (3C – 48 – R) Iain Boyd 53/15
Iain Boyd already had two RSCDS dances and this well-known dance was recommended by the Branch for inclusion in Book 53. Iain is a very well-known tutor in the Region and has taught classes throughout the world. Iain has many books of dances, as well as dances in various collections. They are widely danced internationally.
The Meeting of the Waters was devised to celebrate the 1964-65 New Zealand Summer School in Whanganui, the ‘River City’.
2023: Iain Boyd at the right dancing Kelburn’s Reel (The Morison’s Bush Collection) devised by long-time Wellington tutorBetty Redfearn, at the Early Wellington Dances occasion (part of the RSCDS Centenary events) in April. Photo: Loralee Hyde2023: Watch the RSCDS New Zealand Branch video of The Meeting of the Waters released with Dance 15 in RSCDS Book 53.
Oriel Strathspey (4C – 32 – S) Ian Simmonds 32/2
Ian Simmonds was the founding tutor of the Linden Club and taught there for 53 years. For many years Ian trained a demonstration team which supported nursing homes and hospitals in the local area. Peter Elmes was the long-standing musician for these demonstrations.
Oriel Strathspey was the second New Zealand devised dance accepted by the RSCDS for publication. The title refers to Peter Elmes’ home in Oriel Avenue. The demonstration practices and his Friday night classes were first held in the double garage below Peter’s home.
1990: Ian Simmonds, fourth from the left, dancing in a demonstration set at the Wellington Easter Weekend School. Other Wellington Region tutors in the set include Lynne Hudson (now Bay of Plenty), Noeline O’Connor, Iain Boyd and Margaret Bailey-Allison (now Southland).2015: Dancing Oriel Strathspey at the Johnsonville Tartan Night in September. Iain Boyd is dancing in the set at the far right. Photo: Loralee Hyde2019: Ian Simmonds (with Maureen Robson on his right) dancing Linden’s Diamond (which Ian devised for the occasion) at the Linden Club 60th Anniversary Photo: Loralee Hyde
Romaine Butterfield has four dances published by the RSCDS – the most of any New Zealand deviser. Catch the Wind is much loved worldwide. An excellent selection of tunes has been recorded by Peter Elmes, The Music Makars, and other bands. The original music (a set of ‘flirtation’ hornpipes) was included on an old recording by the late Elma Grech.
The title refers to Iain Boyd’s pursuit (for marriage) of local teacher, deviser, and later examiner, Noeline O’Connor.
Alec Hay was a highly original and prolific deviser of dances and formations, and has a dance in Book 28 For example, ‘set and link’, ‘half turn, hesitate and cast’, ‘set and shuttle’ and ‘set to corners and cast away’ (the Best Set In The Hall figure). He founded and taught at the Howick Club (Auckland) for many years.
This dance was devised for Gary Morris (tutor, deviser and examiner) and has the first occurrence of the formation now called ‘inverted double triangles’, later incorporated in the dance The Nurseryman.
1962/1963: Napier Summer School Glasgow Highlanders: Leading is Alec, son of Mrs Hay of Angus, with Nan Imrie on his right and Phyllis Gale to the left. Keekin’ over Alec’s shoulder is Douglas Jenkinson, and the man behind is Jack Seton. Margaret Laidlaw is clearly visible although her face is hidden by the arm of Phyllis. Photo: NZ Dancer 19631993: Gary Morris dancing Alec Hay’s dance Gary Morris at the 40th Anniversary of the Wellington-Hawke’s Bay Association in Napier. Photo: A History of Scottish Country Dancing in New Zealand, p151
Balmoral Strathspey (4C – 32 – S) John Charles 22/3
Balmoral Strathspey was the first dance from a Kiwi deviser adopted by the Society. Book 22 was the first book to include only modern dances. John (‘Jock’) Charles (from Kawerau, Bay of Plenty) was a Scot from Banff who arrived in New Zealand in 1953 aboard the government owned immigrant ship ‘James Cook’.
The Reel of the 51st Division was the first modern dance adopted by the RSCDS, under recommendation from Her Majesty the late Queen Elizabeth II. Famously devised by prisoners of war.
2022: Watch Pat Reesby’s video of The Reel of the 51st Division taken on the lawn opposite Parliament Buildings on a warm summer evening of dancing (with the infamous Wellington wind blowing in the background!). At the left under the flowering pōhutukawa tree is the statue of Peter Fraser, New Zealand Prime Minister from 27 Mar 1940–13 Dec 1949.
Pelorus Jack (3C – 32 – J) Barry Skelton 41/1
Barry Skelton is another prolific New Zealand deviser with many excellent dances including Pelorus Jack from Book 45. The ‘dolphin reels’ were originally created by Barry Priddey and first used in his dance The Flight Of The Falcon.
Barry’s dance is much loved worldwide. Pelorus Jack was a famous Risso’s dolphin which once accompanied ships from Nelson to Wellington.
The Reverend John MacFarlane (4C – 32 – R) Gary Morris 37/1
Gary Morris was a tutor with the Ngaio Club in Wellington from 1983 to 1998, and became an RSCDS examiner.
The dance The Reverend John MacFarlanecommemorates the first Christian (Presbyterian) religious service held on the Petone foreshore on 23rd February 1840. John MacFarlane arrived in Wellington on the ’Bengal Merchant’ in 1840 with two shiploads of Scots. He returned to Scotland in Oct 1844 and settled at Inverary, Argyllshire.
2011: Gary Morris dancing A Ruby Squared devised by Melva Waite at Ngaio Club’s 40th Anniversary. Photo: Dame Margaret Sparrow2021: Dancing The Reverend John MacFarlane at the Ngaio Club 50th Anniversary Photo: Loralee Hyde2021: Gary Morris and Dame Margaret Sparrow (both Life Members of Ngaio Club) cutting the Ngaio 50th Anniversary cake. Photo: Loralee Hyde
Mildred Clancey’s Strathspey (4C – 32 – S) Jennie Miller A Touch of Gold
Jennie Miller is an Auckland deviser with a dance in the Society’s third Graded Book. She has devised many dances and published several collections of them. Many others have been published in the ‘Dance Devisers Day’ collections.
Mildred Clancey was secretary of the New Zealand Scottish Country Dance Society from 1956-67 and then secretary of the Branch from 1967-74, dying while in office. She arrived in New Zealand from Ireland in 1955 and taught at the Day’s Bay summer school (the second summer school) in 1956. Mildred taught at many summer schools. The inclusion of the ‘Glasgow Highlanders’ setting was suggested for the dance Mildred Clancey’s Strathspey after the deviser saw a picture of Mildred dancing this step.
1962/1963: At Napier Summer School New Zealand Scottish Country Dance Society. Seated, from left: Flora Thomson, Isa Seton, Jack Seton (N.I. Vice-president), Jean McPherson, Bill McPherson (President), Phyllis Gale (Past-president), Les Jack, Mildred Clancey (Secretary). Standing: Dr Thomson, Harry Bruce (Editor), Ed Wilkie, Bob Thomas (S.I. Vice-president), Douglas Jenkinson, Win Clancey.1967: Mildred Clancy at the right taking an Advanced Class at Nelson Labour Weekend School. Photo: Nelson Photo News2023: Watch Jeanette Watson’s video of Mildred Clancey’s Strathspey taken at Capital City Club, Wellington.
Best Set in the Hall (3C – 32 – J) Helen Greenwood 46/7
Helen Greenwood is an Auckland dancer and deviser, originally from Yorkshire. The central movement of ‘set to corners and cast away’ was first used by Alec Hay in his strathspey Peter White. Best Set in the Hall has become extremely popular both here and overseas.
Petronella is the first dance in the first book published in 1924 by the newly formed Society. Loved by children, and with a great tune, this dance was frequently ‘doubled’ with both first and second couples dancing the ‘diamond’ figure.
A Gift From Heaven (4C – 32 – S) Norman Whitson Harbour City
Norman Whitsonwas a long-time tutor of the Eastbourne Club. (Eastbourne was the site of the second Summer School in 1956 – after Napier). A Gift from Heaven was devised in the memory of his and his wife Coral’s daughter, Shona. The lead tune, The Girl with the Deep Brown Eyes, was composed and arranged for this dance by an early Wellington musician – Tom Barnes
The Harbour City, published in 1986, was the second collection of dances published by the Wellington Region, and, again, included dances from the Wellington to Whanganui crescent.
Seton’s Ceilidh Band (4C – 64 – J) Bruce Fordyce 53/12
Bruce Fordyce was a devisor and tutor from Hastings. He was one of the original committee members of the Wellington-Hawke’s Bay Association of Scottish Country Dance Clubs – the forerunner of the New Zealand Society and the New Zealand Branch. Jack Seton was the original President.
1993: Piper Bruce Fordyce leading the Grand March at the 40th Anniversary of the Wellington-Hawke’s Bay Association in Napier Photo: Supplied by the Fordyce family2002/2003: Mary and Bruce Fordyce with Loralee Hyde and Alastair Corps in the Grand March at the Christchurch Summer School President’s Ball. Photo: Supplied by Loralee Hyde
Seton’s Ceilidh Band commemorates Jack Seton whose band was based at Morison’s Bush near Greytown in the Wairarapa, New Zealand. Both Bruce and Jack were early giants of Scottish Country Dancing in New Zealand. They were the principal forces behind the early Summer Schools and the New Zealand Society.
The Duke and Duchess of Edinburgh (3C – 40 – R) Allie Anderson / Florence Lesslie 39/7
The Duke and Duchess of Edinburgh was devised by Allie Anderson and Florence Lesslie in 1948 to celebrate the wedding of HRH Princess Elizabeth to HRH the Duke of Edinburgh. Miss Allie Anderson was a contemporary of Miss Milligan and a founder member of the RSCDS Edinburgh Branch. Professionally, she taught PE at James Gillespie’s High School, Edinburgh. She also co-authored A Complete Guide To Scottish Country Dancing with John Duthie.
Mrs Florence Lesslie was secretary of the Edinburgh Branch for many years. When she emigrated with her husband to New Zealand she was given special permission to examine teacher candidates by herself – the only person Miss Milligan gave this permission to. The first examinations were held at the beginning of 1965 at the end of the summer school in Whanganui. Mrs Lesslie had a significant impact on New Zealand dancing and assisted the New Zealand Society to become an RSCDS Branch. She was the first life member of the Branch.
1948: Miss Allie Anderson, John Robertson (composer of the tune The Duke and Duchess of Edinburgh) and Mrs Florence D. Lesslie. Photo: RSCDS Dance Scottish Archives1968: RSCDS New Zealand Branch Council, from left standing: Doris Smith (South Canterbury), Bevin Shaw (Junior Committee Chairman), Edna Smith (Auckland), Anne Johnson (Wairarapa), Bill Jacob (Rangitikei), Peggy Hudson (Otago-Southland), Gary Morris (Wellington formerly Hastings), Mima Clanachan (Christchurch). Seated: Editor, Harry Bruce; Secretary-Treasurer, Mildred Clancey; N.I. Vice-President, Alan Russell; President, Phyllis Gale; S.I. Vice-President, Mary Ronnie; RSCDS Representative, Florence Lesslie.
This well-known dance has a great driving tune, and finishes the programme with a circle of friendship.
Amy Luxton-Esler (from Auckland) was one of the young dance devisers who submitted dances for consideration for Spring Fling 2015. The winning entries including Dancing Spirit were subsequently published by the Society in Book 50. Amy has served the New Zealand Branch as a member of the JAM (Junior Associate Members) Committee. She has also published three collections of her dances in her ‘Memories Are Made Of This’ series.
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”.
1955: 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/22736027
Percy Scenic Reserve has a fascinating history, originally being the site of the Percy family’s mill, established in the 1840s. The family was one of the pioneer families of Petone, with Joseph Percy and (later wife) Anne Maria Welch arriving as settlers in the early 1840s.
Scene at Korokoro, circa 1860s, with Percy’s Britannia Flour Mill. Photographer unidentified. NatLib image
View from the Percy family property (later Percy Scenic Reserve) in Maungaraki, looking south down the Hutt Valley toward Petone, Somes Island and Wellington Harbour. In the left foreground is Percy’s flour mill. Photographer James Bragge, circa 1860s. NatLib image
1902: View of Lower Hutt looking due east from Percy’s Reserve. The edge of Ratanui Tennis Court is at the bottom right. Photo: Barclay Hector Upper Hutt City Library Heritage Collections
From early on, ‘the mill soon became a social hub hosting dances and events.’ Land nearby was later developed as a private garden, and in 1939 three of the Percys’ grandsons gifted the park and its special plant collections to the Crown ‘for the purposes of a scenic reserve’.
‘From the 1950s the reserve was regularly used for a variety of cultural events such as dances and performances.’ Scottish Country Dancing was one of the groups favoured by the Petone Borough Council in those years. (See Hutt City celebrations of Percy Reserve 70th anniversary)
Interestingly there is a family connection to Scottish Country Dancing through past Wellington dancer, Plimmerton Scottish Country Dance Club tutor and later Johnsonville member, Margaret Bailey (now Bailey-Allison).
Margaret tells me her 2x great-aunt was Anne Maria (Welch) Percy, wife of Joseph Percy, who was ‘the mother of all those Percys who didn’t marry, and who bequeathed the family land’. In New Zealand, you never have to look far for a family connection.
The Scottish Country Dancing connection with Percy Reserve began in the 1950s.
1955: A Scottish Country Dancing demonstration
Dancing at Percy Reserve seems to have begun with a Sunday afternoon demonstration in March 1955, at the request of the Petone Borough Council.
Fifty dancers from Wellington district took part, and the white frocks and tartan looked particularly attractive against the background of bush-clad hills. A light mist hanging round the tree-tops only increased the resemblance of the scene to thills of Home.
The NZ Scottish Country Dancer 1955, p 19
Amazingly it was performed before ‘some 700 spectators’, and followed on from a January demonstration on the lawn in the moon-lit Botanical Gardens.
The 1955 season was deemed to be ‘highly successful’ with these two public demonstrations having ‘given fresh impetus to Scottish Country Dancing in the District’. (The NZ Scottish Country Dancer 1955, pp 3,19)
1955-1956: Dancing under lights
By end of 1955, the Petone Borough Council had installed flood lights and a PA system, and offered the Reserve free to the Scottish Country Dance community to dance one evening a week throughout the summer.
Regular evening dancing started on 21 November 1955, broke for Christmas and resumed to coincide with the second New Zealand Summer School held 3-14 January 1956 at Wellesley College, Eastbourne.
On 12 January 1956 at this second summer school, the New Zealand Scottish Country Dance Society came into being, fulfilling ‘a recommendation made some 12 months earlier from the first Summer School’ [held 27 December 1954 to 7 January 1955 at the Boys’ High School, Napier]. (The NZ Scottish Country Dancer 1956, p 11)
What Jack Seton had to say
At that inaugural meeting, dancer and musician Jack Seton was elected the first President of the New Zealand Scottish Country Dance Society. He was also one of three teachers at the second Summer School, and was very excited about summer dancing at Percy Reserve.
Jack Seton MC’ing a Scottish Country Dance. Photo supplied by Ruary Laidlaw
In the Hastings Notes from Affiliated Clubs in the 1956 magazine, Jack writes enthusiastically:
Since I came to lovely New Zealand, I often wondered if I could ever capture the same thrill at a massed display [as he’d experienced at a demonstration at Holyrood Palace]. During the last Summer School, the class together with members of the Wellington and District clubs performed at Percy’s Reserve. The setting, plus the lighting which added colour to the contrast of tartan sashes and kilts against the green sward brought back the same happy feeling, a feeling which made me inwardly proud of the leaders of clubs who have brought our dances to such a high standard of perfection and a love for every member who gave of his best.
The NZ Scottish Country Dancer 1956, p 19
Percy’s becomes an institution
From the 1950s onwards summer dancing at Percy Reserve was part of the fabric of Scottish Country Dancing in Wellington. Some years were better than others weatherwise, with gatherings washed out on occasion.
In 1971 summer dancing was still going strong, with Lower Hutt Club writing:
This year we were very fortunate with the weather for all eight nights’ dancing at Percy’s Scenic Reserve. On the Hutt Club’s nights, approximately 10 sets turned out for dancing under the stars.
The NZ Scottish Country Dancer 1971, p 36
In 1972, Wellington Club reported that ‘on two of our allotted nights the grass was too wet to allow us to cavort’. But large numbers continued to enjoy dancing at Percy’s throughout the 1970s and into the 1980s.
An exciting development in the 1980s was live music at Percy’s Reserve. Peter Elmes’ notes include a dance programme for 26-1-82 at Percys Reserve and the 1984 Dancer magazine mentions live musicians playing at some of the Percy Reserve nights in 1983.
Little other mention was made in magazines during the 1980s or 1990s. Other events took priority, with summer dancing at Percy’s Reserve having become a normal part of the Wellington Scottish Country Dancing calendar.
Clubs might go into recess for the summer months, but warmer weather never seems to deter the Scottish Country Dancer. Outdoor dancing at Percy’s Reserve during January and February … keeps the fitness levels up until clubs recommence in early March.
The NZ Scottish Country Dancer 1995, p 35
The end of an era
After 1995, I can find no further mention of summer dancing at Percy Reserve in my collection of magazines, and come 1999:
In January/February, outdoor dancing was held at Riddiford Gardens in Lower Hutt – each night being hosted by a different club.
The NZ Scottish Country Dancer 2000, p 25
Summer dancing at Percy Reserve was a feature of Scottish Country Dancing in the Wellington Region for at least forty years – a mighty fine run indeed.
A personal note
Rod and I started dancing in 1991 and we have happy memories of dancing in Percy Reserve in the summer (despite being eaten alive by midges). It was a lot of fun, and we were still young, so dancing on the grass didn’t impact our feet the way it does these days.
Rod became tutor of Johnsonville in 1997 and can remember taking some nights at Percy Reserve in that role, so it would seem summer dancing was still going strong at Percy’s into the late 1990s.
Summer dancing had transferred to Riddiford Gardens in Lower Hutt by January 2000. Harbour City Happenings Vol 2 No.5 November 1999, p6
This ongoing project aims to build a historical resource, and in so doing, honour all the people who’ve been a part of the Region’s history.
Those who attended the Wellington Region’s 60th Ball this year, had the opportunity to enjoy viewing some of the historical photos and videos collected and digitised by the project team and other volunteers.
There’s been an exciting development – we’ve received material from the families of two Scottish Country Dance musicians who played in the 1980s, fiddler John Foden and accordionist Tom Barnes.
Margaret Foden has shared some of her personal photos, and Sono Barnes has donated cassette tapes of Tom and John playing for various Scottish Country Dancing events. These are valuable additions to the Region’s archival collection, many thanks to both for giving us this window into our Scottish Country Dance musicians.
Wellington Scottish Country Dance musicians (from left), Roger, Tom Barnes, John Foden and Merren Simmonds at the Cambridge Queen’s Birthday Weekend School in June 1984 with Mairi-Helen Jamieson as MC
If you have material you could share with, or donate to the region’s Archives Project, or recollections of those times, please email Region committee member Philippa Pointon
Kristin Downey
Originally published in Harbour City Happenings Volume 24 No. 4, December 2021
As part of the Wellington Region’s 60th celebrations, I’ve started combing through old NZ Scottish Country Dancer magazines, extracting items of interest relating to the Region.
I didn’t come to New Zealand until 1986, and didn’t start dancing till 1991, so this has been a voyage of discovery, and I’m really enjoying finding out about the history of Scottish Country Dancing in the Wellington region.
Although the Wellington ‘Branch’ (as it was then known) wasn’t established until 1961, Scottish Country Dancing was already alive and well. Here’s what I’ve found, apologies for any mis-interpretations or omissions, I’m happy to be corrected.
‘In May, 1949, under the auspices of the Wellington Association of Scots’ Societies, the Scottish Country Dance Circle came into being, and was affiliated to the Scottish organisation. The membership was approximately 60, and included members of the Hutt Valley Scottish Society.’ (1954 SC Dancer, p 4.)
‘However, owing to the small attendances and lack of interest, it was reluctantly decided, in April of 1951, that the dancing circle should cease functioning. A new start was made on 10October 1951 … and Scottish Country Dancing was soon firmly established in Wellington’ as the Wellington Dancing Circle.(1954 SC Dancer, p 5.)
Lower Hutt continued to dance as ‘a Scottish Country Dance Circle of the Lower Hutt Scottish Society’ (1957 SC Dancer, p 20) and ‘Wallaceville Scottish Country Dance Club began its career halfway through 1952 as ‘from Wallaceville to Wellington is a long trek on a cold winter’s night’. (1954 SC Dancer, pp 5-6.)
In Coronation Year, 1953, the Wellington-Hawkes Bay Association was established, with member clubs including Lower Hutt, Wallaceville and Wellington.
Early committee members of the Wellington-Hawkes Bay Association, including Wellington Region club representatives (1967 NZ SC Dancer p 21 – download article including committee members’ names below)
However ‘the distance for meetings had become quite a problem, and so in November 1958, the Hawke’s Bay Branch was formed’. (1973 NZ SC Dancer, p4.)
This led to the formation of the Wellington and Districts Association, which included clubs in the Wairarapa. It was an exciting time, culminating in 1960 with the ‘first truly Scottish Country Dance Ball held in New Zealand’. (1961 SC Dancer, p 13 – download below.)
In late 1961 ‘it was agreed … to dissolve the Wellington and Districts Association’ with the formation of ‘two new branches – Wellington Branch and Wairarapa Branch.’ (1962 NZSC Dancer, p 17.)
There is more to the story, including the formation of the NZ Scottish Country Dance Society in 1957, and then in 1968, the NZ Branch of the RSCDS. But that’s for another day.
Clubs in the Region have come and gone over the years, but Scottish Country Dancing remains in good heart in the Wellington Region, built on the shoulders of all those who came before.
This year the Region celebrates its 60th year with a 60th Anniversary Ball, and honours the Wellington Region dancing community by starting to collect and share its history.
Many thanks to those who gifted back copies of NZ Dancer magazines to help with this research. I would be very grateful to hear from anyone who has spare magazines covering the years 1954-1958. Please email me here
Kristin Downey June 2021
This article was originally published in the RSCDS Wellington Region Harbour City HappeningsVolume 24 No. 2 June 2021
