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The De Lavals were a notable Huguenot family who claimed descent from King Henry IV of France and held title to extensive seigneuries in Picardy. Like other Huguenot families, they had greatly benefited from the Edict of Nantes issued by Henry IV in 1598, which granted substantial rights to Calvinist Protestants in a strongly Catholic country. The Edict was bitterly opposed by the Catholic clergy and many French parliaments and was eventually revoked by Louis XIV in 1685. The revocation deprived French Protestants of all religious and civil liberties and subjected them to intense religious persecution. The Vicomte Henri Robert d’Ully de Laval was imprisoned at Laon in 1688 and his estates were declared forfeit. He was able to escape in September 1689, and eventually sought refuge in Ireland. He moved to Portarlington in 1695, where his rank and considerable wealth allowed him to establish a leading position in the community.

In 1808, the Vicomte’s great-granddaughter Deborah Charlotte Newcombe married Thomas Gilbert Willis, son of Thomas Willis, the Master of Portarlington’s most famous French school. Thomas Gilbert, who had taken Holy Orders in the Anglican community, was appointed Rector of Kilmurry Church, Limerick (now adjacent to the campus of the University of Limerick); his son Thomas was appointed Curate to the same church in 1832. Thomas Gilbert was also appointed Prebendary to St Mary’s Cathedral, and Master of the Diocesan School which he ran from his house in Thomas Street. He died in 1837 and was buried outside the west door of the Cathedral. Following his death, his widow opened a Day and Boarding School for Young Ladies in No. 5 Pery Square, while his son William continued to run the private school in Thomas Street. Thus, the strong tradition of education established by the Willis family in Portarlington was successfully extended to Limerick.

Éamonn Proinsias de hÓir was born Edward Francis Dore as one of three children and the only son of Edward Thomas Dore and Nora Daly. A devoted nationalist, he later adopted the Irish spelling of his name. Born in 1921, he studied at University College, Dublin and gained an MA degree in Modern Irish in 1941. While at UCD, he was active in An Cumann Gaelach and in the Language Movement. After some further postgraduate work he joined the translation department of the Dáil.

In 1957, de hÓir was appointed director of the office of the Ordnance Survey. During his tenure, he upgraded and expanded the work of the Placenames Commission and became the country’s leading authority on place names. In 1964, he founded the Placenames Association (An Cumann Logaimneacha) to inform the public of the Commisson’s work and established the Association’s journal, Dinnseanchas, which he continued to edit until his death. De hÓir gave several lectures annually, wrote a number of articles on Irish language subjects and in 1963 published a book in Irish on the lives and work of Eugene O’Curry and John O’Donovan, his nineteenth-century predecessors in the Placenames Office. De hÓir also had a deep interest in archaeology and was a long-standing member of the Royal Society of Antiquaries. He died suddenly on 20 December 1975 at Meath Hospital, Dublin, aged 54.

Joan Davis née Citron was born in Dublin in 1945. She studied tap, folk, and ballroom dancing with Evelyn Burchill as a child, and rediscovered her love of dance at the age of 29, when she began taking classes with the American modern dance pioneer Terez Nelson. Davis made her public debut as a contemporary dancer in 1975, when Nelson staged a small performance at St Mark’s Church in Dublin. Davis and Nelson later taught together, but their partnership failed to last, and Davis sought further training at the London School of Contemporary Dance, commuting between Dublin and London on a fortnightly basis to participate in intensive training sessions.

In April 1977, Davis co-founded the Dublin Contemporary Dance Studio with Karen Callaghan. The school was located at premises on Harold’s Cross, Dublin and opened its doors in September 1977. It provided an opportunity for dancers to work with guest teachers from abroad, and it was here that many of Ireland’s prominent dance personalities received their first grounding in contemporary dance. In March 1979, Davis and Callaghan established the Dublin Contemporary Dance Theatre under the patronage of Marsha Paludan and Niall Montgomery. The company toured professionally in Ireland and abroad and received financial support from the Arts Council. Its core members were Joan Davis, Robert Connor, Loretta Yurick, and Mary Nunan, but other dancers such as Ruth Way, Judy Cole, Paul Johnson, and Tony Pinder also performed in the company at different times. The dance company and school played a significant role in establishing and shaping contemporary dance in Ireland, and Davis is acknowledged as one of the pioneers in this field.

The Dublin Contemporary Dance Company folded suddenly in February 1989, when the Arts Council announced the withdrawal of its financial support. This gave Davis an opportunity to pursue her interest in movement as a therapeutic tool and to seek training in various somatic forms such as Authentic Movement and Body-Mind Centering. Throughout the 1990s, Davis worked as a movement therapist, advertising this work as The Moving Experience. She also explored the links between therapeutic practices and the arts, terming it The Theatre of the Unconscious. As part of this exploration, she organised outdoor retreats or “tribals” during which participants lived outdoors and created art and movement in nature. In 1999, Davis received funding from the Arts Council to explore therapeutic movement forms more fully in a shared dance context. The project culminated in a performance, Through Fluid Eyes, on Greystones Beach in County Wicklow in August of that year. From these explorations emerged the Maya Lila training method for professional dancers, which harnesses somatic training practices as a starting point for an exploration of the creative process and encourages coordination between body and mind.

Dance United Northern Ireland emerged from Dance United, a non-profit organization established in 2000 by choreographers Mags Byrne and Royston Maldoom and independent television producer Andrew Coggins. In April 2007, Byrne as Artistic Director and Maldoom as Consultant Director established Dance United Northern Ireland as an entirely separate and independent entity. This professional dance development company works across the island of Ireland and internationally, advocating dance as a tool to facilitate personal and social development, advance dance as an art form, build community connections, and foster tolerance and respect. Its approach has been formulated into four separate but interconnected programmes of work. Building Bridges aims to connect young people who are at risk of being socially segregated due to their special needs, cultural difference, behavioural difficulties, or disability. Crossing the Divide focuses on cross-community work, bringing communities together using dance as a tool to provide people with a safe environment to let go of fears and prejudices. Closing the Gap focuses on inter-generational work and addresses the breakdown in contact between people of different ages. Opening the Spectrum comprises workshops and performances that have a social or developmental aim but do not naturally fit into the company’s other generic programmes. In April 2012, Dance United Northern Ireland changed its name to DU Dance (NI).

Dance Theatre of Ireland was founded in June 1989 by Robert Connor and Loretta Yurick, former members of Dublin Contemporary Dance Theatre. Since its inception, the company has created and produced some forty dance works for theatre, festivals, and television, and presented and commissioned work of international choreographers to introduce dance in its wider context to the Irish audience. The company has toured most major venues in Ireland and participated in some of the most prestigious festivals and theatres in Europe, Korea, and the USA. In 2000, with the support of the Arts Council, Dun Laoghaire Rathdown County Council, and Dunloe Ewart Properties, Dance Theatre of Ireland opened a purpose-built Centre for Dance to provide a permanent home for the company, rehearsal space for new work, and a venue for dance classes and workshops to dance enthusiasts of all ages.

Dance Resource Base is the premier non-profit organization, which supports the dance community in Northern Ireland. It provides facilities and resources and advocates the raising of the profile of dance in the North. Dance Resource Base was incorporated and registered as an independent company in 2006 following a process of consultation with the dance sector. It is a membership organization and is run by a board of governors who are elected annually by company members. It is an annually supported client of the Arts Council of Northern Ireland.

Dance Ireland is the trading name of the Association of Professional Dancers in Ireland Ltd (APDI). It was founded in 1989 as the representative body for professional dance in Ireland and was initially administered by Dance Council of Ireland. It was incorporated as a non-profit company limited by guarantee in 1992, and re-branded as Dance Ireland in 2006. The organisation aims to provide support and practical resources for dancers and choreographers and to enhance public awareness of and involvement in dance at all levels. Its programme includes international guest residencies, choreographic programmes, master classes and cross arts sessions. It also manages DanceHouse, Ireland’s only custom-built dance studio venue, opened in Dublin in December 2006 with the support of the Arts Council and Dublin City Council.

Margaret ('Madge') Daly was born on 4 February 1877 as the second of the ten children of Edward Daly and Catherine O'Mara. Her siblings included Kathleen Daly, Mayor of Dublin and wife of the Irish revolutionary Thomas Clarke; and Edward ('Ned') Daly, commandant of Dublin's 1st battalion of the Irish Volunteers during the Easter Rising and the youngest of the leaders executed in its aftermath. Margaret's father died in 1890, and six years later his brother, John Daly, assumed responsibility for the support of his widow and children. In May 1898 he established a bakery in Limerick city at 26 William Street, where several of his nieces worked.

When an auxiliary branch of the women’s nationalist organisation Cuman na mBan was established in Limerick on 5 June 1914, Margaret and her sisters became heavily involved in its activities. She was also actively involved in the planning of the Easter Rising. When her uncle died in 1916, Margaret inherited his bakery business and revealed herself to be an astute businesswoman. From the proceeds of the bakery she helped to support not only her sisters and their families but also the newly formed Volunteers. Her strong republican views subjected Margaret to repeated harassment by the military and the police, including the looting and burning of the bakery and the stopping of the bread van during delivery because of Gaelic lettering displayed on its side. Each time, she withstood the ordeal and successfully fought the authorities for compensation.

In the 1940s, Margaret relocated from Limerick to Dublin, where she died unmarried on 21 January 1969.