Jig

Lore & Background

The term 'jig' was probably derived from the French 'giguer', meaning 'to jump', or the Italian 'giga'. In Irish dance, it derives from the Irish 'jigeánnai', itself borrowed from the Old English 'giga' meaning 'old dance'. It was known as a dance in 16th-century England, often in 12/8 time, and was used for a post-play entertainment featuring dance in early modern England. Later the dance began to be associated with music particularly in 6/8 time, and with slip jigs in 9/8 time. During the middle of the 16th century the dance was adopted in Ireland, and in the 17th century in Scotland, where it was widely adapted. The jig is second in popularity only to the reel in traditional Irish dance, and in Scottish country dance jigs and reels are the two quicktime dance forms. A jig is transcribed in compound metre, being 6/8 time. The most common structure of a jig is two eight-bar parts, performing two different steps, each once on the right foot and once on the left foot. As with most other types of dance tunes in Irish music, it is common for two or more jigs to be strung together in a set, flowing on without interruption. In 19th-century America, the jig was the name adopted for a form of step dancing developed by enslaved African-Americans and later adopted by minstrel show performers. Danced to five-string banjo or fiddle tunes in 2/2 or 2/4 metre played at schottische tempo, the minstrel jig (also called the 'straight jig') was characterized by syncopated rhythm and eccentric movements. The most famous early jig dancer was Master Juba, an African-American who inspired a host of white imitators, many of whom performed in blackface. A variant was the 'sand jig' or 'sand dance', performed as a series of shuffles and slides on a sand-strewn stage.

Reader's Guide

The jig holds significance as a foundational dance and music form that spread from the British Isles across Europe and North America, influencing both Baroque art music and later popular dance. Its adoption into the Baroque dance suite as the gigue demonstrates its integration into classical composition, while its enduring role in Irish and Scottish traditional music makes it a living folk tradition. The jig's classification into multiple types—double, slip, single, hop, treble, light, and straight—reflects its adaptability to different tempos, metres, and performance contexts, from competitive Irish step dance to minstrel shows. The development of the minstrel jig in 19th-century America, particularly through dancers like Master Juba, contributed directly to the evolution of tap and soft-shoe dancing. The jig's ability to cross cultural boundaries—from European courts to African-American vernacular dance—underscores its versatility and lasting appeal as both a social dance and a theatrical performance form.

Did You Know?

• The jig was originally in quadruple compound metre (e.g., 12/8 time) but has been adapted to time signatures including 6/8, 9/8, and 12/8.
• The term 'jig' was probably derived from the French 'giguer' meaning 'to jump' or the Italian 'giga'.
• The most famous early jig dancer in America was Master Juba, an African-American who inspired white imitators performing in blackface.