Viewed from the perspective of performance rather than politics or promiscuity (which, to be honest, I might, if my memory serves me, prefer) there is a definite difference in the way most women's border sides that I have seen dance from the the way the men's sides dance. The former tend to go "tap tap" politely whereas the latter tend to display more of the hooligan aggression that goes with sexual competition (which is what is being ritualised, isn't it?) in the whacking of their sticks.

But there again few garland dancers convey the idea of the come-hither display that I believe to be the heart of garland (well, what do you thing the hoops with the little red bow at the top middle are supposed to symbolise?) and perishing few female Irish dancers convey the curiously Roman Catholic tension between restraint and sexual display that sems to me to be the key to their art.

And I think I've only ever seen one molly dancer who conveyed the insanity and threat (something about the unrecognisable in confrontation with the unforgivable), the ranting psychotic nature of that form. You sometimes see it in the eyes of the kings for a day in the urban street, up on speed and feeling invincible until the comedown. You don't often see it in dancers concentrating on their steps and moves. The information that follows is second hand so I hope it is right. Oddly, he was an East Anglian lad, of several generations, in a side mostly composed of students or recent graduates. He alone in the side had not been to university and I strongly felt that he alone was in touch with genuine roots..

That's the trouble with traditions, the aspic can get in the way of the true flavour....

Or was it the true flavour?

In case you were wondering, I'm sober.