Chapter 1: Early Childhood and Learning To Dance
00:00 / Part 1 - Jonathan’s Family Life and Background Born in 1971, Jonathan grew up in Banemore, close to Listowel. He comes from a farming background and went to school locally. Both his mother and father were interested in music, song and dance. His father, in particular, sang ballads as well as other popular songs. 02:02 / Part 2 - Early Dancing Influences Jonathan’s mother was from Kilflynn. She was taught dance by Phil Cahill, a former pupil of Jeremiah Molyneaux. Jonathan recalls having been introduced to dance, at a young age, by his mother. He also remembers that, when he was young, he was taught the ‘Patsy Haley’ [‘Shoe the Donkey’] by John Hartnett. He was a Listowel dancer who visited Jonathan’s home. 03:53 / Part 3 - Primary School and Jimmy Hickey Jonathan attended Dromclough Primary School, where Jimmy Hickey was teaching dance at the time. Initially only those pupils who were interested in dance attended Jimmy’s lessons. However, by the time Jonathan was in 3rd or 4 th class, the Principal had decided that all the pupils must attend the dance classes. 06:21 / Part 4 - Jonathan’s Dislike of Competitions Jonathan recalls that Jimmy Hickey used to host feiseanna for his own dance pupils. These were held in local halls and the music was always provided by an accordion player. While Jonathan did compete in a number of these events, he recalls having decided at a young age that competitions were not for him. 07:38 / Part 5 - Jonathan’s Secondary School Days Jonathan’s attended secondary school at St Michael’s College, Listowel. At the time he was still attending dance classes with Jimmy Hickey. Jonathan’s fellow pupils were aware of his interest in dance but it never became an issue. He makes the point that, while at school, he also engaged in football, rugby and athletics. 08:53 / Part 6 - Traditional Calendar Customs of North Kerry Jonathan often participated in the St Stephen’s Day (26 Dec.) custom of the Wren Boys. This traditionally involved groups of mainly men and boys, dressed in costumes, going from door to door singing, dancing and playing music. Travelling either by bus or car, Jonathan and his companions visited local public houses where they performed and collected money for St Senan’s GAA Club, Listowel. A similar custom, the Biddies, was associated with the Feast of St Brighid on 1 February. Jonathan never participated in the Biddies.
Chapter 2: Dancing with Siamsa Tíre
Chapter Summary: 00:00 / Part 1 - Classes in Teach Siamsa Jonathan discusses the classes he attended at Teach Siamsa, in Finuge. The classes took place weekly and were held over two nights. Instruction in drama, music and singing took place on Tuesday nights. Wednesday nights were devoted solely to dance classes with Jimmy Smith. 03:28 / Part 2 - Early Days in Siamsa Jonathan attended classes for three years at Teach Siamsa in Finuge. He later auditioned and was accepted into the more advanced training classes hosted by Siamsa Tíre in Tralee. That training concentrated on performance material for the stage shows hosted by the company over the summer months. In 1984 Jonathan performed for the first time in the stage show ‘Fadó Fadó’. 06:10 / Part 3 - Becoming full member of Siamsa Jonathan had no particular career plans when he completed his Leaving Certificate in 1989. He occasionally harvested turf with Martin Whelan, then Manager of Siamsa Tíre. One day in the bog Martin informed Jonathan of a vacancy within the company’s Core Group of full-time professional performers. He asked Jonathan if he might be interested in the position. So began Jonathan’s long association with Siamsa Tíre. 08:23 / Part 4 - A Typical Day in Siamsa Jonathan started as a full-time member of the company in October 1989. The summer season was then over and the training and teaching of younger performers was the priority over the winter months. The winter season was also the time when the company could experiment and develop new material. Jonathan enjoyed touring with the company, both at home and abroad. 10:43 Part 5 - Outside Influences While touring the members of Siamsa Tíre occasionally exchanged songs or dances with their hosts. Jonathan recalled one occasion when they tried to teach the North Kerry style of dance to an Irish competitive dance school based in Ohio, USA. However, the members of the dance school found the North Kerry material very difficult. 11:58 / Part 6 - The Social Side of Touring While touring with Siamsa Tíre, the members of the company often had the opportunity to explore their surroundings. However, touring could also be difficult if the company was moving from place to place without respite. 12:37 / Part 7 - Memories of Early Siamsa Tíre Choreography Jeremiah Molyneaux’s North Kerry style of dance was adopted by Siamsa Tíre during the 1980s and incorporated into its productions. Jonathan discusses the process of choreographing the show ‘Ding Dong Dederó’, staged for the opening of the company’s new theatre, in Tralee, in 1991. 15:35 / Part 8 - Ding Dong Dederó At the beginning of Jonathan’s career, ‘Fadó, Fadó’ was the only stage show hosted by Siamsa Tíre. Over time, as more shows were added to the repertoire, he increasingly played a role in their development. The show ‘Ding Dong Dederó’ was the first full show that Jonathan was involved in as a member of the creative team. Each show appealed to Jonathan for a different reason. 17:10 / Part 9 - Tourists Jonathan discusses the type of shows that appealed most to foreign visitors. For example, the show ‘Fadó, Fadó’ appeared to have greater appeal than ‘Ding Dong Dederó’. The latter was more theatrical in style and required a little extra audience engagement. Jonathan emphasises that often the country of origin seemed to influence the audiences’ preferences.
Chapter 3: Former Artistic Director of Siamsa Tíre
Chapter Summary: 00:00 / Part 1 - Artistic Director Jonathan was appointed ‘Máistir Rince’ [Dancing Master] in 2000. Aside from teaching and researching dance, he was responsible for maintaining the stage shows over the summer seasons. Later, in 2005, he served as acting Artistic Director before being formally appointed to that role in 2024. Jonathan never anticipated that he might someday assume that role. However, Jonathan does feel that he was well acquainted with Fr Pat Ahern’s vision, having worked with him over many years. 02:23 / Part 2 - Challenges of Being Artistic Director Jonathan reflects upon the challenges involved in maintaining a balance between tradition and innovation. At the time he became Artistic Director, changes were underway and there was pressure to produce new material and to be innovative. While Jonathan welcomed this, he was also anxious to maintain a connection with tradition. 03:24 / Part 3 - The Importance of the North Kerry Style. Jonathan discusses his love of the Jeremiah Molyneaux North Kerry style of step dancing. He remarks upon the importance of the videos of the elderly dancers from that area, which were made during the 1980s. Jonathan also states that modern choreographers appreciated the style and were happy to work with it. 06:17 / Part 4 - Creativity & Support In Jonathan’s opinion, creativity needs to be supported and artists should have the freedom to be creative. However, the need to be financially viable can, in Jonathan’s opinion, stifle the creative process. The building and opening of Siamsa Tíre’s new theatre in 1991 resulted in increased financial pressures for the company. 08:51 / Part 5 - Effects of Covid Jonathan discusses the negative effect that the Covid pandemic has had upon the standard of children’s dancing skills. Obviously children were unable to attend Irish dancing classes during the pandemic. Now Jonathan is working to reverse that negative impact. 11:16 / Part 6 - The Loss of Regional Dance Styles Jonathan accepts that, in the world of dance, change is constant. He has made every effort to learn the traditional North Kerry style and to pass it on to others. However, globalisation and the modern dance shows have, in Jonathan’s opinion, resulted in the decline of many regional styles of dance.
Chapter 4: What Has Dancing Meant To You?
Chapter Summary: Dancing has always been part of Jonathan’s life and it forms part of his personal identity. It has created many opportunities for him and Jonathan has toured the world as a dancer. He now welcomes a new phase of his life dedicated to sharing his dancing skills with a younger generation.
Dance Extracts
Jonathan Kelliher dances a few 'Hornpipe Steps'.
Jonathan learnt these Jigs steps from the 1983-1985 video recordings of Jack Lyons. Jack was from Ballybunnion and he learnt the steps from Jeremiah Molyneaux in 1918.
Jonathan learnt these Jigs steps from Jimmy Smith and Patricia Hanafin-Nolan at Teach Siamsa, Finuge. Siamsa Tíre operated two training centres for traditional music, song and dance. The first opened at Finuge in North Kerry in 1974. The second opened at Carraig in the West Kerry Gaeltacht in 1975. These steps formed part of Siamsa Tíre's dance repertoire for the stage show 'Fadó Fadó.'
The Flail Jig from Siamsa Tíre’s stage show 'Fadó Fadó.' Taught to Jonathan by Jimmy Smith and Patricia Hanafin-Nolan.
Liam Tarrant Jig Step, included in Siamsa Tíre’s production of Bill Whelan’s musical 'The Seville Suite' (2002)
Jig (Oisín) choreographed for a Siamsa Tíre production using the end of the 'Liam Tarrant Step'. Liam Tarrant (d. 1974) was a former pupil of Jeremiah Molyneaux. Together with Fr Pat Ahern, Liam was a driving force behind Siamsa Tíre the Irish National Folk Theatre.
'Tom Jiggy Jon Step' created by Jonathan Kelliher and accompanied by the newly composed tune by Tom Hanafin for Siamsa Tíre’s production of 'An Ghaoth Aniar' (The Wind from the West - 2018)
'The Blackbird' as choreographed for Siamsa Tire's stage show production, 'Ding Dong Dederó.' (1991)
Jonathan learned this version of 'The Blackbird' from Jimmy Hickey, one of his early dance teachers and a life-long influence.
Step 1: Used by Siamsa Tíre for the scythe scene in the stage show 'Fadó Fadó'. Step 2: Jonathan learned the step from John McCarthy as part of the creative process of the 'Ding Dong Dederó' stage show. (1991) Step 3: A Paddy White step.
Based on the North Kerry style and traditional step dances, this set dance was choreographed within Siamsa Tíre, the Irish National Folk Theatre.