Irish Dance Stretching Essay

The importance of stretching before participating in a sport is a topic often discussed, but not completely understood. It is worth understanding, first of all, that stretching is not the main factor in determining if an injury with occur. The athletes already set body structure is also a main component to causes of injury. By studying the different ways bodies are put together, it will make it easier to predict injuries and maybe prevent them in the future. Irish dancers can use this information to help lower the risk of injury since they are already at high risk due to overuse.
All athletes know the importance of trying to avoid injury and how to treat injury once it has occurred.This is true for Irish dancers as well. Irish dancers know
With the introduction of “Lord of The Dance” and “Riverdance”, Irish dancing has become more popular and includes dancers from all over the world, not just Ireland. Since it has spread across the globe, it has evolved and absorbed influences of new cultures over a long period of time to create hybrid products resulting in three main form of irish dancing. These are: social dance, including Ceili and set dancing, sean-nos dancing, and step dancing. Ceili and set dancing are similar in that they were both utilized for social dancing and both resemble square dancing. Set dances, however, were passed on to family members informally at home while the Dance Masters often taught the Ceili dancing. Another difference to be noted is the number of people participating. In set dancing, dances often involve four person sets but also threesomes and even couples. Ceili dancing was also executed in circle, lines, and
It is considered a competitive style of dance, performed solo for an audience. Usually presented within a limited amount of space, the rhythmic movements were fascinating. Today step dancing has evolved to include grander movements, lead-ins, and turns while maintaining its charm. The twenty-first century has lent some new conventions to Irish dance that would make it unrecognisable to the eighteenth century dance masters. Fake tans, curly wigs, tiaras, heavy makeup and jewellery are as much a part of competitive dancing today as the music itself. The male dancers have not escaped the ‘bling’ culture of the twenty-first century either – sequin waistcoats, bejewelled shoe buckles and studded ties are available for