The music of the Isle of Man reflects Celtic, Norse and other influences, including those from its neighbours, Scotland, Ireland, England and Wales. The Isle of Man is a small island nation in the Irish Sea, between Great Britain and Ireland.
The sgian-dubh – also anglicized as skene-dhu – is a small, single-edged knife worn as part of traditional Scottish Highland dress. Originally used for eating and preparing fruit, meat, and cutting bread and cheese, as well as serving for other more general day-to-day uses such as cutting material and protection, it is now worn as part of traditional Scottish dress tucked into the top of the kilt hose with only the upper portion of the hilt visible. The sgian-dubh is normally worn on the same side as the dominant hand.
A dirk is a long-bladed thrusting dagger. Historically, it gained its name from the Highland dirk where it was a personal weapon of officers engaged in naval hand-to-hand combat during the Age of Sail as well as the personal sidearm of Highlanders. It was also the traditional sidearm of the Highland Clansman and later used by the officers, pipers, and drummers of Scottish Highland regiments around 1725 to 1800 and by Japanese naval officers.
Targe was a shield used by Scottish Highlander in the early modern period. From the late 16th century, until the Battle of Culloden in 1746, the Scottish Highlander's main means of defence in battle was his targe. In February 1596 the clan leader John Grant of Freuchie was able to muster 500 men including 40 armed "according to the Highland custom" with bows, helmets, swords, and targes. After the disastrous defeat of the Jacobites at Culloden, the carrying of the targe had been banned by the Disarming Act, and many were destroyed, or put to other uses. Those that remain have intricate patterns, and are decorated, indicating that they would have originally belonged to important people.
The Highland charge was a battlefield shock tactic used by the clans of the Scottish Highlands which incorporated the use of firearms.
Highland dance or Highland dancing is a style of competitive dancing developed in the Scottish Highlands in the 19th and 20th centuries, in the context of competitions at public events such as the Highland games. It was created from the Gaelic folk dance repertoire, but formalised with the conventions of ballet, and has been subject to influences from outside the Highlands. Highland dancing is often performed with the accompaniment of Highland bagpipe music, and dancers wear specialised shoes called ghillies or pumps. It is now seen at nearly every modern-day Highland games event.
The Sword dance is one of the best known of all Highland dances, an ancient dance of war. Performance of sword dances in the folklore of Scotland is recorded from as early as the 15th century.
Scottish fiddling may be distinguished from other folk fiddling styles by its particular precision of execution and energy in the delivery, for example, the rendering of the dotted-quaver/semi-quaver rhythmic patterns, commonly used in the Strathspey. Christine Martin, in her Traditional Scottish Fiddling players guide, discusses the techniques of "hack bowing", "the Scotch snap", and "snap bowing". These techniques contrast quite sharply with the most common bowing patterns of Irish fiddling. The style has a very large repertoire consisting of a great variation of rhythms and key signatures. There is also a strong link to the playing of traditional Scottish bagpipes which is better known throughout the world.
Scottish Backhold is a style of folk wrestling originating in Scotland. The wrestlers grip each other around the Chest and shoulders at the back, with the right hand under the opponent's left arm and left arm over. With the chin resting on the opposite right shoulder and an S-Grip hold. The bout is controlled by a central referee and two judge's all of equal standing. Falls are decided by a majority of three rule, with no conferring. When the referee is sure that both wrestlers have taken a firm grip, he shouts "HOLD" and the bout starts. Should either wrestler break his hold or touch the ground with any part of his body except the soles of their feet, he/ she loses. If both wrestlers hit the ground or mat at the same time a "Dog Fall" is declared and the fall is wrestled again immediately. There is no ground work and the bouts are usually best of five falls.
The weapon dance employs weapons—or stylized versions of weapons—traditionally used in combat in order to simulate, recall, or reenact combat or the moves of combat in the form of dance, usually for some ceremonial purpose. Such dancing is quite common to folk ritual on many parts of the world. Weapon dancing is certainly ancient; among the earliest historical references we have are those that refer to the pyrrhichios, a weapon dance in ancient Sparta, in which the dance was used as a kind of ritual training for battle.
John Joseph Kneen was a Manx linguist and scholar renowned for his seminal works on Manx grammar and on the place names and personal names of the Isle of Man. He is also a significant Manx dialect playwright and translator of Manx poetry. He is commonly best known for his translation of the Manx National Anthem into Manx.
There is some evidence on historical fencing as practised in Scotland in the Early Modern Era, especially fencing with the Scottish basket-hilted broadsword during the 17th to 18th centuries.
Mona Douglas was a Manx cultural activist, folklorist, poet, novelist and journalist. She is recognised as the main driving force behind the modern revival of Manx culture and is acknowledged as the most influential Manx poet of the 20th century, but she is best known for her often controversial work to preserve and revive traditional Manx folk music and dance. She was involved in a great number of initiatives to revive interest and activity in Manx culture, including societies, classes, publications and youth groups. The most notable and successful of these was Yn Chruinnaght.
Aeglagh Vannin was a youth group in the Isle of Man whose purpose was the engagement with and revitalisation of Manx language, history and culture. It was established by Mona Douglas in 1931, went through a number of mutations, and faded out in the 1970s. It is best remembered for its central role in the revival of Manx folk dancing.
Colin Jerry was a Manx cultural activist best known for his contributions to Manx music through his books, Kiaull yn Theay, published in two volumes. He was awarded the Reih Bleeaney Vanannan in 1991 for his contributions to Manx culture which were 'extensive and staggering.'
Rinkaghyn Vannin is an important book of 28 Manx dances, mostly collected by Mona Douglas, which was published in 1983 by Sleih gyn Thie.
Hop-tu-naa is a traditional Manx dance connected to the hop-tu-naa festivities around 31 October in the Isle of Man. It is a simple processional dance for any number of two pairs of dancers. The dance shares its name with the festivities and the music to which the dance is connected.
Hunt the Wren is a traditional custom carried out on the Isle of Man on the 26 December, St. Stephen's Day. It consists of groups of people going around villages and towns singing and dancing a traditional song and dance around a decorated wren pole.
The Flitter Dance is a traditional dance from the Isle of Man associated with Good Friday. It was collected by Mona Douglas in the 1940s or 50s and is popular among younger Manx dancers today.
The White Boys is the traditional mummers' play of the Isle of Man.
Scotland