The legend of the Scottish Sword Dance dates back to the 11th century about a Scottish prince named
Maol Chaluim mac Dhonnchaidh, or Malcolm III, later nicknamed Malcolm
Canmore, ‘Big Head’ which was used literally or in reference to his
leadership capabilities. He was the eldest son of King Duncan I (
Donnchad mac Crínáin
[donyuh-hkuh mak kri-nah-n]) who ruled Scotland toward the end of 1034.
The account was the original source to William Shakespeare’s
Macbeth. Duncan’s reign was not successful as he was killed by Macbeth (
Mac Bethad mac Findlaích/MacBheatha mac Fhionnlaigh [mak-veh-ha mak fionyuh-lahy]) on 15 August 1040. Although Shakespeare’s
Macbeth
presents Malcolm as a grown man and his father, an old one, it appears
that Duncun was still young, and Malcolm was only 9 years old. Soon
after the death of Duncan, his two young sons were sent away — exactly
where is the subject of debate. One version had Malcolm sent to England
and his brother, Donalbane (
Domnall Bán [domnul bahn]), to the
Isles. Another version had Malcolm’s mother take them both to the Orkney
Isles, the Earl was an enemy of Macbeth’s family and Duncan’s kinsman
by marriage. In 1045, Malcolm’s family attempted to overthrow Macbeth,
but Malcolm’s grandfather
Crínán of Dunkeld was killed in the attempt.
King of Alba (1058-1093) Malcolm and his second wife, Margret
An English invasion in 1054, chronicled the death of Macbeth by the commanding officer of the attack,
Siward, and the death of a
‘Máel Coluim,’ but this proved to be inaccurate. Macbeth survived Siward by two years and
Máel Coluim was then believed to be the son of the king of Strathclyde who married Duncan’s sister.
During the campaign, various chroniclers reported the death of Macbeth at Malcolm’s hand, on 15 August 1057 at
Lumphanan
in Aberdeenshire. On this occasion was when the legend was borne. In
the wake of vengeance for his father, Malcolm III was said to have
crossed his own bloody claymore (the two-handed broadsword of Scotland)
over the bloodier sword of the defeated Chief and danced over the naked
blades in triumph.
Others have suggested that warriors danced the Sword Dance the night before battle.
Either way, this dance of exultation became a tradition among the
highland warriors, and in subsequent battles, clansman would cross their
swords and dance around them in the same way. According to the clan
tradition, if the dancer could complete the dance without touching the
swords, it was a good omen that they would be victorious in the coming
battle. However, to touch the swords beneath his feet during the dance
was a bad omen and was indicative of doom for the coming battle.
There are many variations of the sword dance, but they do have common
features. First, the dance is performed around and over two crossed
swords (3, 4 or even 8 swords are used from time to time). Next, the
dancer normally travels counterclockwise around the sword, and finally,
the dance normally comprises of a slow strathspey time followed by quick
reel time. Strathspey is named after that region of Scotland and so a
type of country dance. It’s been hypothesized that strathspey mimics the
rhythms of the Scottish Gaelic language.
In the first steps, the dancer performs are outside the sword, ‘
addressing’
the sword. Subsequent steps are danced over the crossed blades. Once
inside the blades, the dancer never turns his back to the swords - only a
fool would turn his back on a weapon.
This unique form of Scottish Dance comprises almost entirely of one
form of foot movement — the pas de basque and all other movements
support it. Because this is, in essence, a war dance, all movements must
be precise and strong, and the head should be proud and poised.
Highland Sword Dance Performance, solo performance.
Group performance, 1:30 into the video.
Beside the sword dance, there were the combative
dances. Traditionally, these dances were taught to boys from a young
age, along with other Highland weapons of war, the Lochaber axe, cudgel,
dirk and targe. It was designed to drill simple, but effective methods
of close combat skills including footwork that kicks, sweeps and trips,
and throwing techniques. Unfortunately, many of the Highland combative
dances with traditional weapons are now lost, but the
Highland Dirk Dance (solo dance, starts at 2:40 of the video) still exists and was often linked to the sword dance or dances called
Macinorsair, the ‘Broad Sword Exercise’ or the
Bruicheath
(Battle Dance). This combative dance, performed by two dancers in
duelling form and as a solo routine, has the performers executing knife
techniques combined with wrestling style kicks, trips and sweeps.
Another version involved attacking and defensive techniques with
single-sticks and targe shields. These battle dances resemble the
Pentjak Silat [PENchahk SEElaht], a combative dance originating from Indonesia. —Wikipedia.
Since the Highland combative dances basically no longer exists and
the Scottish battle dance was similar to the Pentjak Silat, I have
posted the Pentjak Silat dances here.
1880. Indonesian warriors dressed in plain, white sarong.
Traditionally, sarongs are worn by both men and women and are plaid.
It’s possible these two warriors wore plain sarongs because it was
inexpensive, given they might be damaged during combat.
Pencak silat, also spelled
penchak silat and
pentjak silat is an umbrella term for the indigenous combat practice created in Indonesia.
Pencak is the performance aspect of the traditional combat practice, while
silat
is the essence of the fighting and self-defense. The pencak silat
tradition, very much like the Scottish Sword Dance tradition, was passed
down almost entirely by word of mouth. The primary weapons of
Indonesia’s tribal peoples were the straight, single-edge knife called
the
parang, not unlike the Scottish 18th century
dirk, were used in more mundane situations rather than warfare—they were used to cut down forest brush. Like the Scottish
sgian dubh to the
dirk, the
parang was accompanied by the
bolo used to clear vegetation, and to kill and bleed pigs.
Performers. Samping/Linso: Piece of silk fabric worn around the
waist or shoulder, used in locking techniques and for defense against
blades. Stylized folds are in the front.