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The term jig was probably derived from the French giguer, meaning 'to jump' or the Italian giga. [5] The use of 'jig' in Irish dance derives from the Irish jigeánnai, itself borrowed from the Old English giga meaning 'old dance'. [6] It was known as a dance in 16th-century England, often in 12
A victory jig or victory dance is a celebration of a victory or success with a dance, shuffle or body movement. It is most commonly used in sports. The term can be used approvingly or abusively. A victory jig can be engaged in as a genuine celebration or as a means to humiliate or taunt an opponent.
For the light shoe round, boys dance 48 bars of a reel, but girls' competitions may require either a reel or a slip jig depending on the age group. In case of a slip jig, only 40 bars are danced. The possible dances for the hard shoe round for both girls' and boys' competitions are treble jig and hornpipe. Once again, the required hard shoe ...
[m] The set dance at Oireachtas Rince na Cruinne is performed in a contrasting time to the first round – that is, if the dancer performed a hornpipe (4 4 time) in the first round, they must perform a jig (6 8 time) in the set dance round, and vice versa. [87] There are 30 set dance tunes approved for use at Oireachtas Rince na Cruinne. [88]
The term, jig, at the same time maintained its common definition, which refers to a type of dance or music. In the various primary sources the term appears with a number of different spellings: jigg, jigge, gig, gigg, gigge, gigue, jigue, jeg, jegg, [2] and jygge. [3] Richard Tarleton
Because of its timing, the slip jig is longer than the reel for the same number of bars of music. In Irish stepdance competition, the tempo of 113 beats per minute is the same as other dances, but as each bar is longer, instead of dancing to 48 bars of music the dancer is only required to dance 40 bars of music (each of 2 1 ⁄ 2 steps ...
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Early straight jig dancers would scatter sand on wooden floors for traction, as was done at a famous 1862 competition between Dick Carroll and Tommy Peel. [5] Carroll, Peel and their jigging and clogging contemporaries were percussive dancers but their use of sand made possible the addition of the sliding and shuffling steps of true sand dancing.