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One’s connection to their culture and heritage is an important relationship to honor. Some are born into it, others must seek it out, and many proudly create their own.
Marty Dowds, dance instructor of Dowds Irish Dance Academy located at 2436 South 120th St., is a bridge for Irish Americans and hibernophiles who want to seek out an aspect of Irish culture. “I strive to make everyone the best dancer that they are,” Dowds said, the cadence of his Irish accent a joy to midwestern ears.
Dowds learned and practiced dance in Donegal, Ireland. He was introduced to dance by his grandmother, and it didn’t take long for the classes to be more than just fun. His dance instructor saw his potential and introduced him to competitive dance, which he took up at age 9, and within eight years of dancing, he auditioned for Riverdance, a touring theatrical show featuring Irish dance and music. Dowds was hired in 1997 at age 17, and toured with them for 13 years as a lead and dance captain. “To be a professional dancer is a huge achievement for an Irish dancer,” he said. “It was never a thing until Riverdance. Like most dancers, I assumed I’d go to school, work a job, and teach classes at night. Not (run) two dance studios.”
In order to become a certified Irish Dance instructor who can have their students compete, one must pass a written exam, a music test, dance in front of a panel, and instruct a younger student—it is a two day exam. Once passed, applicants must register the school with An Coimisiún Le Rincí Gaelacha (The Irish Dancing Commission), or CLRG. “Our region is mid-America, so you have to register as a North American School. Anyone can teach without the certification, but their students won’t be able to compete,” Dowds explained. “There’s a lot of work behind the stage that people don’t know about. The Irish Dance competition is broken up by regionals, nationals, and worlds. Regionals took place over 2024 Thanksgiving, Nationals are in D.C. on the Fourth of July 2025, and Worlds 2025 takes place in Dublin, Ireland.”
The inability to compete doesn’t take away the sharing component of the dance. Dowds focuses on both avenues for his students. “I never tell a student to give up. You’ll get there, it just takes time. Patience is good.” These dances have been shared on a rainy day, a holiday, to grandparents, at school, church, or community events.
“If you’re not a little nervous, you’re too comfortable in the situation. Nerves give you the push to be on that stage and make your dance one of your best,” he remarked to one student who recently performed at the Durham Museum for their Holiday Cultural Festival. He encouraged them to use their nerves to give a great performance.
Dowds’ journey has led him all over the world—including China, the U.K., Japan and Mexico—and he’s performed Irish dances for dignitaries and political figures. When he returns home to Ireland for competitions or leisure, his neighbors and kind strangers remember how his parents were involved in their community and sometimes they remember his earlier dances. “I don’t dance for fame or to be known,” Dowds said. “I do it because it’s something I like and I can give the next generation the tools to follow their dream, wish, or to be a part of their heritage.” The students in his classes have lots of potential. Irish dance practice is more of a routine; the teacher must be constructive and guide the students. “This makes you a better person and teacher, because every student is different,” Dowds averred. “Some are doing it for fun, others are competitive, some want something of their culture to show off to friends and family.”
The amount of honor he holds for the privilege of being part of multiple communities isn’t lost on him. “It’s kind of nice to know so many people. We have become a family because we see each other so often. Getting to know the child and parent gives you a background on where they come from and their lifestyle, which allowed me to develop an approach to inspire the students,” he said. How miraculous it is to create a space similar to one in childhood for other people to share. “Some children you gotta give a little nudge and help along the way. It’s more about confidence and feeling good when performing.” Dowds’ favorite teaching method is having his students set goals. “You can tell when a child has the ability and energy to be the best dancer and compete.”
Irish Dance has done nothing but rise since entering the cultural mainstream. Dowds isn’t worried about its place locally or on the world stage. “It evolves with time, the costumes have evolved with time. I feel it will do a 360 and come back to what it was 20 years ago,” he said. As this change to the art happens, he doesn’t waste time wondering if it’s bad or good, he simply goes with it. The steps are moving with the times, the style is moving with the times. “It’s different from when I competed, dancers are more like athletes now,” Dowds observed. “My generation, when we competed we didn’t know any better. The new generation does gym training on the side, which is better in the long run for injuries. They’ll stay stronger and will be able to handle the stress on the body more.”
The availability and access to Irish Dance and training allows this generation of dancers to do their stretch and strength classes through zoom calls and meetups. Dowds reiterates that this is a natural evolution. “We ourselves are either helping or not helping the situation,” he opined.
“If you can walk, you can dance,” Dowds said. He is a seasoned instructor of both children and adults. He uses Feis, a Irish dance music streaming app that allows students access to the songs to which they dance. “There are many styles of dancing—reels, treble reels, slip jigs, jigs, hornpipes,” Dowds explained. “Within that there is a soft shoe and hard shoe, the soft shoe for girls is akin to a ballet shoe but it’s made of leather and there’s no block on the toe. The hard shoe has a heel and a fiberglass tip; it’s not a tap shoe because tap shoes use metal, which produces a different sound. The boy’s soft shoe has a suede sole with a heel on the back.”
No school can do the same dance at a competition or record any dance at competition. That drive of creativity empowers Dowds when coaching competitive dance. “Boys can do what girls do, and girls can do what boys do. There are dances only girls can do, and when coaching you try to make it as flowy and graceful as possible,” he said. With the different shoes come different styles, taps, and moves that are distinct to their home and their culture.
It all comes back to home for Dowds. His decision to start a dance studio was motivated by a desire to share his heritage with the Omaha community. “I wanted to see where it would go, see how it would develop, and here I am 12 years later, still teaching.” His goal is to teach until he’s incapable. “If I can still dance, then I’ll still do it,” he said. The mental challenge of it keeps him engaged as well.
Dowds didn’t chase his dream—he walked alongside it with patience, grace, and drive. He never gave up on what he loves. “Be true to yourself.” The lilt of his Irish accent is a joy to hear. “It’s not always as bad as it seems, and it never will be as bad as it is.”
For more information, visit dowdsirishdance.com
This article originally appeared in the March/April 2025 issue of Omaha Magazine. To receive the magazine, click here to subscribe.
