Footwear for Dancing
By Bill Clement, Piper to the Duke of Atholl and former Chair of the RSCDS written 1982
Updated by Geoffrey Selling, May 2007
On 5th May 1950, Miss Elsie Goodall took part, with our team from Perth, in an SCD competition in Edinburgh. While watching some of the other teams dance, an elderly gentleman asked her, "Why are you wearing your baffies in evening dress?" "These are my dancing pumps," replied Elsie. "But surely," continued the questioner, "when you are wearing evening dress, you should be wearing an evening shoe." Elsie replied, "Then I could not dance the steps correctly." "A we'l lassie, you cannot be dancing them correctly!" was the elderly gentleman's parting shot as he walked away. On enquiry, we discovered he was none other than DG McLennan, Edinburgh's well-known dancing master during the earlier part of this century.
It was in 1953 that I played my pipes for a Foursome Reel in Blair Castle, on the occasion of the Coming of Age Ball for the late George Iain Murray (later 10th Duke of Atholl). In the top set were The Countess of Errol, The Countess of Mansfield, The 9th Duke of Atholl (Lord James Stewart Murray) and Sir Iain Moncrieffe of That Ilk. The ladies floated through the dance with a grace and ease that was a pleasure to see, while the gentlemen danced with a great spirit -- all wearing evening shoes (with a hard sole and heel).
As a young member of the Society's Summer School staff (about 1950), I remember attending a meeting in the library at the request of Miss Milligan. At that meeting Mrs. Florence Leslie proposed adapting the style of some of our steps, in order that they could be danced when wearing an evening shoe. Mrs. Leslie told of the occasion when she and her husband danced at Holyrood Palace with members of the Royal Family, all of whom wore evening shoes. At this time, when dancing the strathspey travelling step, the sole of the foot as it was being pulled through brushed against the supporting leg, and the knee was turned out at right angles to the direction of travel. The pas de basque third position was well over the supporting foot -- which of course was much nearer to a highland third position. Both changes were accepted at that meeting in order that one could dance SCD when wearing an evening shoe.
When attending a traditional ball, 150 years ago or today, the programmes always consist of a mixture of dances, some SCD and other more modern dances; hence an evening shoe is worn throughout. At the Atholl Ball prior to 1914, there was a "Rams Reel," or Foursome Reel (strathspey and tulloch), danced by the Duke of Atholl, his officers, and men of the Atholl Highlanders, all in uniform. The men, as today, wore their heavy, hill-walking buckled brogues, and danced in them all evening.
On one occasion, I asked Miss Milligan what shoes did she wear at a ball, to which she replied, "My dear, I always wear an evening shoe."
Some years ago, when speaking with Sir Iain Moncrieffe of That Ilk, who was an Honourary Vice President of the RSCDS and who danced with Her Majesty the Queen at the Society's 50th Anniversary Ball "The Petronella," Sir Iain said that if you cannot dance with a glass of whiskey on your head without spilling a drop, you are no dancer. A guideline for good dancing as told to the grandson of a lady who regularly danced at Royal Balls many years ago was that the pearl necklace that she wore must not move during dancing.
Sir Iain and I further discussed the different styles of Scottish Country Dancing. I asked him (tongue-in-cheek) did he consider the RSCDS had done a greater service or disservice to the dances of Scotland? He replied, "Undoubtedly a greater service, but they have made it more balletic."
A soft-soled pump is undoubtedly ideal to wear for classes, informal dances, and demonstrations, but when in evening dress at a ball one should be free to choose whether to wear a dancing pump or, more traditionally, an evening shoe.