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Róisín Cahalan was born and raised in Limerick. She trained at the Nolan School of Irish Dance for ten years and later at Scoil Rince Dal gCais under the direction of Anthony Costello. She is a five-time Munster Champion and has placed in the top three at the All-Irelands and British Nationals. Her highest placing at the World Championships was second.

After retiring from competition, Róisín attended the University of Limerick, where she earned a bachelor’s degree in business and a postgraduate degree in computer studies. Upon completion of her academic studies, she became a computer programmer in Dublin. Róisín put her career on hold when she joined the Riverdance Liffey Company in August 1996. She moved to the Lagan Company in January 1998 and returned to the Liffey Company in August 1998.

Rosemarie Cockayne was born Rosemarie Edwina Biggers on 4 November 1943 in Montreal, Canada. Her parents were Harold Edwin Biggers (1900-1979), a barrister and political journalist from Australia, and Evelyn Linda née Cockayne (1906-1980), an English-born commercial artist who had emigrated to Australia with her mother and sister in 1913. In 1944, the Biggers family returned from Canada to London, where Rosemarie’s parents had lived for some years prior to her birth.

Rosemarie was educated at Miss Ironside’s School for Girls in Kensington, London. Her interest in the performing arts emerged at an early age. When she was seven years old, she took mime lessons with the legendary Russian prima ballerina Tamara Karsavina (1885-1978), who quickly spotted Rosemarie’s aptitude for dance. She recommended her to the Polish ballet master Stanislas Idzikowski (1894-1977), and it was under his tutelage that Rosemarie took the first steps towards her future career. While continuing to study at her day school, she furthered her dance training at the Royal Ballet School. She appeared in ballet and opera productions at Covent Garden and, in 1958, was given a role as Miriam in the film Drawn from the Nile. Having left the Royal Ballet School, Rosemarie became a ballet soloist and later a ballerina at the Basle State Ballet in Switzerland under the direction of Waslaw Orlikowsky. It was at around this time that she assumed her mother’s maiden name as her stage name.

While living and working in Switzerland, Rosemarie developed an interest in painting. She adopted expressionism and its vibrant use of strong colours as her dominant style. She returned to England to study painting at Saint Martin’s School of Art and at Morley College in London. To fund her studies, she continued dancing and took up fashion modelling aided by her mother, who drew fashion illustrations for the stores in Kensington and Knightsbridge. Rosemarie held her first exhibition at Clarges Gallery, London in February 1972. For the next thirty years, she exhibited her work widely in England and internationally in Sweden, Canada, and Brazil. In addition, she produced company logos, record sleeves, and stage designs, most notably sets and costumes for Dublin City Ballet’s productions.

Later in her artistic career, Rosemarie Cockayne combined her love of art with her deep interest in people and the environment. She began to do voluntary work with children, the homeless, and the disabled as Artist in Residence for several community groups, running art workshops and sitting at committees concerned with art and education. Among the charities she collaborated with were Field Lane, The Pembroke Centre, and Providence Row. Her work with the city’s charities was honoured in 2000 with the Freedom of the City of London.

Rosemarie Cockayne died after a long illness on 3 February 2015. Her funeral was held at the church of St John the Baptist in Kensington, and her ashes interred at the church of St John the Baptist in the parish of Cockayne Hatley in Bedfordshire alongside her parents.

Niamh Condron was born in Dublin in 1976 and gained a BA in Dance from the Northern School of Contemporary Dance, Leeds, in 1999. She has worked as a dancer with Scott Wells & Dancers Company (San Francisco), Justin Morrison (San Diego), Irish Modern Dance Theatre (Dublin), Sioned Hews Dance Company (Belgium), Earthfall Physical Theatre (Wales), The Curve Foundation (Scotland), and Dance Theatre of Ireland (Dublin). In 2001, Condron won a scholarship for emerging dance artists to train at the Impulstanz Festival, Vienna, and in the same year founded the This Torsion Dance Theatre to explore movement and performance, combining dance, music, and voice. Condron performs with the company at theatres, festivals, and alternative performance spaces in Ireland and abroad. In 2006, she founded the Vibrate Dance Festival and acted as its Artistic Director until 2008.

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.

Marguerite Donlon was born in 1966 in County Longford. Her early life was influenced by traditional Irish dance, and she did not begin her ballet studies until the age of 16. She received her training from Anica Dawson and Dorothy Stevens, and was a member of the English National Ballet under Peter Schaufuss. In 1990, she became a solo dancer and choreographer with the Deutsche Oper Berlin. She has worked with many celebrated artists, including Natalia Makarova, Rudolf Nureyev and Sir Kenneth MacMillan. In 2001, Donlon became director of the ballet at the Saarländisches Staatstheater in Saarbrücken, Germany. Her resident company, Donlon Dance Company, is renowned for the highly technical and artistic level of its dancers. They have presented not only Donlon’s choreographies but those of prominent artists such as Ji?í Kylián, Christian Spuck, Helena Waldmann and Rafael Bonachela. Donlon’s artistic and innovative style, which combines different art forms and humour, has been recognised through several awards and nominations. Donlon resigned her directorship in 2013 and was awarded a Medal of Merit for her outstanding work as ballet director and her contributions to the world of dance. Since 2014, Donlon has brought her creativity and coaching skills to the world of business as a business coach and leadership mentor.

Jane Kellaghan graduated from the Northern School of Contemporary Dance in Leeds, UK with a BA in Performing Arts (dance) in 1995. In 2000, she was awarded a master’s degree with first class honours in Dance Performance from the University of Limerick. As an independent artist, Jane has worked with Daghdha Dance Company, Wayne McGregor (Random), Mná Rua, Half/ Angel Visual Theatre, Rebus, Isabelle Meerstein Film Company & Tina Horan Films. Her commissions include works for Firkin Crane’s New Works Series 1996, Solo Independence 1998, A Sense of Cork 1998, Trading Places with Charlotte Darbyshire 1999, and choreographic work for theatre companies including Everyman Palace under the direction of Tim Murphy (1996-1999) and for New Moon Youth Dance Company under the direction of Tina Horan. She also choreographed and performed for Cork City Ballet annually from 1997 to 2004.

In 2000, Kellaghan founded CruX Dance Theatre to provide greater access to the art of dance. Through its repertoire, the company has also succeeded in stimulating awareness of the possibilities of dance integrating as it does multi-media elements, particularly video, photography, and film. Kellaghan has created work annually for the company and continues to act as its Artistic Director.

Jane Kellagahan’s other significant role is that of a teacher. Since 1995, she has taught Contemporary Dance Technique, Choreography Craft & improvisation on the Vocational Education Committee (VEC) Diploma in Dance course run by Coláiste Stíofáin Naofa based at The Firkin Crane, Cork. She is also the director of CruX Youth Dance, which since 2002 has provided contemporary and creative dance training for children, through weekly classes and annual performances. Between 2008 and 2011 she was employed by The Firkin Crane to set up and manage Blank Canvas – Professional Dance Residency Programme while also acting as professional dance advisor to Paul McCarthy. In 2006, Kellaghan qualified as a yoga instructor and teaches weekly classes in Cork City and County.

Norman Maen was born Norman Maternaghan in Ballymena, County Antrim in 1932. He began his dance tuition at an early age by attending Irish dancing classes on Saturday mornings at the Protestant Hall in Ballymena. He was a member of Patricia Mulholland’s Irish Ballet Company and for many years an All-Ireland champion Irish dancer. Maen’s career plans initially led him to Ballymena Academy and Stranmillis College, Belfast, where he gained teaching qualifications, but within a year of his graduation he decided to follow his dream of appearing on stage. He moved first to Vancouver and then to Toronto, where Canadian Broadcasting Corporation chose him as one of their elite six-member television dance team, Alan Lund Dancers, who appeared on a weekly television series, Camelot, starring Robert Goulet. He later moved to New York to work on Broadway as the principal dancer for Jack Cole. In 1961, Maen returned to Ireland to work as station choreographer for Telefís Éireann for three years. In 1963, he moved to London, where he set up his own dance company, The Norman Maen Dancers. In a daring move to gain commissions, he invited theatre and television producers to an audition showcasing the skills of his dance troupe. The gamble paid off, resulting in four offers.

Maen’s superbly choreographed work is perhaps best remembered from the primetime television series This is Tom Jones (1969-1971) which gained him an Emmy for outstanding achievement in choreography in 1970. He arranged dance routines for stars like Liza Minnelli, Julie Andrews, and Juliet Prowse, and was the creator of a number of dance routines for the Muppet Show, including the unforgettable Swine Lake sequence featuring Rudolf Nureyev and Miss Piggy. Maen’s other notable contributions to the world of entertainment include several years as director of the Royal Variety Performance, choreographic work created for musical theatre in Dublin (including Finian’s Rainbow and The Fantasticks) and the West End (such as Man of Magic and Irene), and choreography for the musical The Young Ladies of Rochefort (1967), starring Gene Kelly and Catherine Deneuve.

Patricia Durcan (née Cochrane) was born in Belfast and attended the Jim Johnson School of Dance in that city.

Siân Ferguson is a professional Labanotator, director, dancer, and choreographer. She trained at the Laban Centre for Dance in London, the City College of New York, and the Dance Notation Bureau in New York, completing an MA in Dance Research & Reconstruction in 1987 and a Professional Notator Certification in 1992. She has taught at Stanford University, SUNY Purchase, City College of New York, and Hofstra University and worked as Paul Taylor's Company Notator for five years. She has taught adults at Dance Theatre of Ireland and children at Encore! School of Performing Arts in Dublin, where she founded a programme in Tumbling for Tots. She is currently retired and living in the Bay Area of California.