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.
Basic steps and brief dance demonstration
Solo dance performance
Group performance In this video, note, though it is a group performance, parts of it are solo routines. When they do break up into pairs to duel, they demonstrate those kicks, sweeps and throws as explained above.
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