Scottish Country Dance is a unique blend of music, disciplined dancing, intricate floor patterns and sociability that has appeal throughout the world. The origins of dancing in Scotland are obscure; there is no mention in early documents until around the period of Mary Queen of Scots in the 16th century when her reputation as an excellent dancer apparently added to her charming the French court. With one European court frequently influencing the other it meant that new ideas of style and content were adopted and possible that she helped introduce it on her return to Scotland.

In the Elizabethan court of England rustic figure dances called 'country dances' were popular and these were often were set to Celtic tunes. By the late 16th century new European ideas changed many emblems of Scottish society including music which changed from harp to pipes. It is at this time that the word reel first appears and in the following century ports, possibly the forerunner of slow Strathspeys are also recorded. The Hebridean singing of a 'port-a-bail' (mouth tune) was mentioned in the 12th century and traditionally thought to be accompanied by dancing but generally in Scotland, as in Europe, by the 17th century dancing was popular. With the introduction of the viol, the fiddles forerunner, it set the scene for the emergence of the fiddle and dancing to become a new vogue for social interaction.

At his trial at Inverary in 1677 for stealing a cow Donald Dubh tried to avoid the gallows by claiming he played his 'trump' (Jews harp) while a number of fairies danced suggesting this was a popular instrument for dancing. Later n 1700 James MacPherson of the song 'MacPhersons Rant,' before being hanged danced his fiddle tune and when no when his offer of the instrument to the public before execution was rejected he smashed it to pieces. Thankfully cow stealing went out of fashion and enough musicians avoided execution or slaughter at the battle of Culloden to help country-dance to flourish there after. Post Culloden saw many Strathspeys composed for fiddle and played by masters such as Neil Gow and this together with, Reels, Hornpipes and Highland Flings frequently mentioned dancing was a favourite Highlander amusement.

As Lowland Edinburgh became the focal point of the Scottish Enlightenment polite dance assemblies flourished and other cities and towns soon followed making country dancing an accepted part of socialising. Other traditions of dance existed but once they appeared in Scotland the country-dances were modified to include elements from the old strathspeys, reels, rants and jigs to create a style of dance comfortable with all Scots. Country Dance had vigour but it was also elegant, courteous and skilfully precise. One tradition that carried on until the middle of last century was to take lessons from dancing masters to develop skills. These masters were often skilled musicians and in demand throughout Europe they taught both the older country-dances as well as new popular dances like quadrilles and polkas to all levels of society. At seventeen James Scott Skinner, the Strathspey King, in respect adopted the surname of his dancing master Professor Scott of Stoneywood and though renowned for his fiddle playing Scott Skinner also taught dancing at for Queen Victoria in 1868 at Balmoral.

Country dance died out in England, but in Scotland it's popularity continued and though by the onset of the 20th century the volume of country dances on programmes at the had decreased they still appeared regularly. World War One 1914-18 changed all that as American jazz and ragtime reduced Scottish Country Dance to a relic of its former glory. In 1923 there was a desire to restore the old dances and music and the Scottish Country Dance Society was nurtured into form by the dedication of two women, Ysobel Stewart and Jean Milligan. They researched and collected dances and by publishing them restored them encouraged classes and dancing teachers. Country-dance is a social phenomenon but correct technique is equally important. Dances are performed to strict standards, but regional variations are allowed for many popular dances. By the early 1950's the Society gained the title 'Royal' and Queen Elizabeth II became patron. Its membership has since grown into a worldwide organisation with Headquarters in Edinburgh and a large group of affiliates.

Perhaps the most notable exponent of the music, Jimmy Shand, even reached the UK Pop charts with his Bluebell Polka in the mid 50's and was said to have influenced the likes of John Lennon of the Beatles with his strict tempo accordion playing. Today the main instrument is accordion and many bands play throughout the land for country-dance enthusiasts during the season. Whether the accompaniment be accordion, fiddle or bagpipe it is a distinctive music and one of the first things that come to mind when considering an image of Scottish culture: groups of tartan clad dancers with cheery hearts skipping nimbly, clicking thumbs, clapping hands and even singing the tune while going through the exact motions of the old forms. Opposite is a list of some of Scotland's important Scottish Country Dance musicians and Bands globally held in high esteem by aficionados of this Scottish tradition.